Forum theatre as a pedagogical method

Содержание

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SOCIAL PEDAGOGY as a theoretical back ground: preventing and solving social

SOCIAL PEDAGOGY as a theoretical back ground: preventing and solving social problems

by using pedagogical methods like art based methods

Social :
societal
collaborative work
communication

Pedagogical:
theory about education
educational methods, e.g. art-based methods

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Art and right of expression is a Human Right http://www.claiminghumanrights.org/udhr_article_27.html#at29 Article

Art and right of expression is a Human Right http://www.claiminghumanrights.org/udhr_article_27.html#at29

Article 27:

Right to participate in cultural life
Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.
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Forum theatre Augusto Boal: Theatre of Oppressed, 1973 Aims and principles

Forum theatre

Augusto Boal: Theatre of Oppressed, 1973

Aims and principles
to support consciousness

of the world and active action for social change
to create different solutions to conflicts from perspective of suffering person
participation and involvement and dialog
To support critical attitude
All people are active actors
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For example

For example

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Development of Forum-theatre

Development of Forum-theatre

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Image Theatre Dialog without words to make visible: feelings ideas conflicts

Image Theatre

Dialog without words

to make visible:
feelings
ideas
conflicts

to make social
change:
dialog between

different perspectives
alternative
possibilities
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Exercises WARM UP TRUST WORK STORIES BRIDGE WORK: IMAGE WORK MAKING ACTIVATING SCENE FORUM THEATRE

Exercises

WARM UP

TRUST WORK

STORIES

BRIDGE WORK: IMAGE WORK

MAKING ACTIVATING SCENE

FORUM THEATRE

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Exercises: Contact without words: Warm up: Traffic jam Trust work: Group

Exercises: Contact without words:
Warm up: Traffic jam
Trust work:
Group rules:


Trustfulness, Non-judgement, Respect, Openness, Honestly, Voluntarily
Choosing the theme that includes problem
Story telling about the chosen theme
Including start, middle and end. True story that you are involved in
3 min / person
only for the pair (one tells and another listens)
The pairs tells for all one word that expresses the story she/ he just heard by the storyteller. The words will be written on the wall for all
Bridge work: Human sculpting: Complete the image by using the words of the former exercise in groups of 6 members.
Make images about the chosen problem and another image when the problem is gone or a bit solved from the viewpoint of the suffering person. Showing the images to others and reflection about realism, reasons, possibilities in real life.
Your own first positive step that you could do for the solution: reflection by painting and explaining in the small groups
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Small groups 1. Miira Arell, Magdaleena Mimi, Tuomas Larkovuo, Anastasia Stanislavskaya,

Small groups

1. Miira Arell, Magdaleena Mimi, Tuomas Larkovuo, Anastasia Stanislavskaya, Ivanova

Polina, Daniil Nazarov + Teacher mentor Kati Vapalahti
2. Teemu Turunen, Veera Ilvonen, Levonen Tarja, Oxana Bazenyuk, Alisa Slavskaia, Darya Polshvedkina + Teacher mentor Sari Miettinen
3. Inkeri Autio, Anu Sopanen, Lindbhom Niina, Vlada Bulat, Valeria Edrikova, Tatyana Tyarasova + Teacher mentor Katri Schadewitz
4. Siiri Mänttäri, Virve Linnanen, Paavolainen Nina, Maxim Dumin, Andrey Milovidov, Anna Astanina + Teacher mentor Tuija Suikkanen Malin
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Thank You for your attention Further questions: Kati Vapalahti kati.Vapalahti@xamk.fi FRAGMENTTEJA Tommi Toija

Thank You for your attention

Further questions:
Kati Vapalahti
kati.Vapalahti@xamk.fi

FRAGMENTTEJA
Tommi Toija

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Why to use image for supporting dialogue? “IMAGE-THEATRE – Words are

Why to use image for supporting dialogue?

“IMAGE-THEATRE – Words are

emptinesses that fill the emptiness (vacuum) that exists between one human being and another. Words are lines that we carve in the sand, sounds that we sculpt in the air. We know the meaning of the word we pronounce, because we fill it with our desires, ideas and feelings, but we don’t know how that word is going to be heard by each listener.
IMAGE THEATRE is a series of Techniques that allow people to communicate through Images and Spaces, and not through words alone.”
(Augusto Boal, Rio de Janeiro 2004)
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Orientation Consciousness – what is happening? What could be done for

Orientation

Consciousness – what is happening?

What could be done for change?


Topic for the work

Dialog for social change

Reflection of action and theory

Visio – what should be happen?

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Forum theatre situation Realistic Ends to conflict No solution Clear conflict

Forum theatre situation

Realistic
Ends to conflict
No solution
Clear conflict
Relationships, intentions, circumstances place,

action
Significance
Motives
Oppressed person
Slow progress
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Facilitation Facilitator / joker = a bridge between an audience and

Facilitation

Facilitator / joker = a bridge between an audience and actors
Motivate

people to try different solutions and to participate
Make questions for reflecting of ideas
Is a critical voice; doesn’t allow unrealistic solutions
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Facilitation basic questions Is it realistic? What might be true? Who

Facilitation basic questions

Is it realistic? What might be true?
Who is

the oppressed person?
What would s(he) wish?
Did (s)he get what wished?
Why s(he) didn’t ?
What could s(he) do?
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Forum theatre is based on philosophy of Paulo Freire: Pedagogy of

Forum theatre is based on philosophy of Paulo Freire: Pedagogy of

Oppressed Active, empowering model for learning according to Paolo Freire https://www.youtube.com/watch?v=hMhumwBVwzU

Support to be independent and critical
Subject-subject –relationship
All people are active actors
Dialog
Collaborative negotiation
All kind of knowledge is valuable

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References and additional reading Boal, A. 1992. Games for Actors and

References and additional reading

Boal, A. 1992. Games for Actors and Non-actors.

London: Routledge.
Boal, A. 1995. The Rainbow of Desire. The Boal Method of Theatre and Therapy. Lon-don: Routledge.
Freire, P. 1972. Pedagogy of the Oppressed. New York: Penguin Books
Hannula, A. 2009. Vapauttavat yhteisölliset käytännöt: Pula!-ooppera ja Camera Obscura –hanke. Teoksessa K. Filander ja M. Vanhalakka-Ruoho (Toim.) Yhteisöllisyys liikkeessä. Aikuiskasvatuksen 48. vuosikirja. Jyväskylä: Kansanvalistusseura ja Aikuiskasvatuksen Tutkimusseura, 353─374.
Hämäläinen, J. & Kurki, L. 1997. Sosiaalipedagogiikka. Helsinki: Wsoy.
Hämäläinen, J. Luento Kuopion yliopiston sosiaalityön ja sosiaalipedagogiikan laitos, 2004
Kurki, L. (2002). Persoona ja yhteisö. Personalistinen sosiaalipedagogiikka. Jyväskylän yliopisto. SoPhi.
Kurki, L. (2000). Sosiokulttuurinen innostaminen. Tampere: Vastapaino.
Ranne, K. 2002. Sosiaalipedagogiikan ydintä etsimässä. Sosiaalipedagogiikka suoma-laisten ja ruotsalaisten asiantuntijahaastattelujen sekä dokumenttien valos-sa. Turun yliopisto
Rohd, M. 1997. Hope is vital. An interactive Theatre and Community Dialoque Training Manual for Educators, Youth, Community Workers and Artists. Owings Mills: Monistemuotoinen oma kustanne.
Vaplahti, K. 2005. Sosiaalipedagogista ajattelua kouluun? Jyväskylän yliopiston kasvatustieteen laitos: Progradu tutkielma
Värri, V-M. 1997. Hyvä kasvatus - kasvatus hyvään. Dialogisen kasvatuksen filosofinen tarkastelu erityisesti vanhemmuuden näkökulmasta. Tampere: Yliopistopaino

13.3.2018