When talking about "theater in the school" is usually understood as an activity whose purpose seems to be the public performance of a text (either by a specific author or collective creation from the trials and improvisation) at the end of the year or other special days ...
course not excluding that possibility, the books published by De la Torre in his collection "Alba and May Theater" ("The Thief Words "," Mysterious Shadow "," My friend speaks Fremd rare "by Antonio de la Fuente Arjona, and even "The girl did not know she was" Sury Sánchez) fantasize about a proposal which, although modest appearance, becomes ambitious plan.
Secluded in the privacy of the room, heedless of public applause and relieved of devices (lights, decorations and other trinkets techniques), the theater, not avoiding the playful, delves into pedagogy. Where it becomes important to the experience and not the display.
Theatre at school and at home "was the original title that gave rise to this collection of books back in 1992, under the sure direction of Luis Gonzalez Carreño (theater director and professor RESAD) and an editorial which went bankrupt due to release its fourth title (things in life and this our scene, luckily Ediciones de la Torre taking it over) ... "Theater in school and at home" with all its luster, but waived the fame and laurels, transcendent but media coverage: the everyday, simple, approachable, accessible, open to anyone, at home and at school.
we are not actors. We are not looking spectators.
It is not about education "play" (ie, a teaching professional theater theater) but "drama in education", ie imagine a professional, a teacher (not in theater: a math teacher , or English language or second language ...) using dramatic play (in the classroom and in school hours) to better convey his subject.
But is that theater can be used to teach math or language or history?
Yes, why not? The dramatic expression in the service of education!
not as a separate activity (usually done outside the school) but as part of every subject matter: in short, as a tool rather than as provide (enriching) the work of teacher and guide (with practice) understanding of students.
As a tool, other materials, add the textbook, slides or visit the museum
puppets, shadow play, pantomime, the children themselves representing / experiencing a historic event, a math problem or a grammatical concept: the possibilities and uses are formidable.
- Ugh! -Here is where a party is thrown teacher hands to his head and snorts. Ugh! More work!
have no dramatic training and believe that this is all very complicated, and not: for once let us take an example to the children themselves who are trained not dramatic but they open one of these books and just start reading and are playing, learning, and simple, and that is the position to follow ...
is clear that the more resources have the trainer most likely to play, but with practice one learns, is not it?
Each of the books published so far have supported (and support, shoring) that theory (which of course is not new, nor is it "mine") has had the valuable assistance (and almost surveillance) from a teacher on the subject to be treated, and after several courses conducted with teachers and students of teaching I have seen (and confirmed) to what extent, with enthusiasm and imagination (and time and commitment, of course) that theory can grow, become bigger and bigger independent ... And walking out there, away from my hand, I hear of Barcelona, \u200b\u200bNavarra, (and from further afield!: Morocco, Colombia ...) of people whose daily work and discreet anonymous profit colleges and beyond my initial proposal. And now
loop the loop and tell me where unbecoming, "we are not actors. Viewers do not seek "wrote above not to confuse, to show the theory clean of dust and straw, but once explained (and hopefully understood) must return to the obvious truth: that theater is theater and even a text theater and nobody reads uncannily as if it were always representing the public and the actors are there but not see them. Therefore, this proposal can never exclude the possibility that theater.
So are these books that are emancipated from the theory that the form (and shaping) and provide other readings, other uses depending on who trespasses on their pages, a boy, a teacher, an actor, a director ...
This opens up a double track, double door to a fantastic adventure circular: in the theatrical world started studying or study while doing theater? Either road will inevitably lead us to the next. Come and see!
No big secrets and tips learned (not required), these four books ("The Thief of Words", "Mysterious Shadow", "My friend speaks Fremd weird" and "The girl did not know I was") stuffed with games, ideas and exercises, only venturing a few bases, simple but robust , on which each one could be built to suit this theory or fantasy. Because more than
dramatic skills (which are not bad, of course) the main thing is throwing enthusiasm and imagination, that the best way (if not the only) contact dramatic play and ample resources, is precisely that: playing and experimenting.
Antonio de la Fuente Arjona
Spain (Actor, Playwright) http://delafuentearjona.viadomus.com
0 comments:
Post a Comment