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Theatre pre-university education must be guided by the concepts, means and methods used according to the authentic method of the Actor's Art, centered on the principle established by professor Ion Cojar – The Actor's Art is a way of thought, only then after it becomes a way of doing. The theatre pedagogue must be freed from preconceptions, prejudices, fixed ideas, „aesthetic” concepts. He is not a director, he works with a raw material of extraordinary freshness - the mind, the soul and the body of the children-actors in a continuous development-transformation. Basically, the theatre pedagogue has to relate, alive, constantly, here and now, to the living subjects in front of him and to the work material they offer. He has at hand the principles of the Actor's Art stated by the great theorists and practitioners of the theatrical art. The principle of authenticity should be compulsory from the simplest approach of the pupil and the working material to the most complex one – the theatre performance. The student must always remain himself, without asking false questions such as: How is the character? Or how does the character feel? The pupil must be taught from the first theatre workshop that the „character” does not exist, but is just a literary construction, and that we will see together „not how” but „who” he is and „what” he does. Theatre techniques must use authentic methods and aim for authentic results. Situation and the genuine relationship with the partner are the other two landmark methods for any game, improvisation exercise or theatre exercise that is attempted during the Actor's Art workshop. The article ends with a list of the skills practiced and developed with the help of theatre techniques.
More...TEHNICI ȘI METODE APLICATE ÎN FUNCȚIE DE PRINCIPIILE DIDACTICE DE BAZĂ
The process of teaching-learning of drama in the pre-acedemic educational system needs to be done following the main didactic principles, as, it should not be forgotten the fact that in school, the class that it is called generical Theatre or Drama does not form actors, but creative people. Using specific drama methods and techniques the teenagers’ skills can be discovered and intensified in order to create artistic and nontheless human competences.
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The problems of the world we live in - the crisis of the environment, globalization, poverty, unemployment, social failure, equality of chances, human rights, democracy and so on, have become problems of the educational sciences, which have integrated them in what is called the „new education”. „New educations”, such as environmental education, participation and democracy, equal opportunities, development – these are just a few more meaningful ones – is proof of the ongoing concern of society and educational systems to overcome the problems of the contemporary world, the curriculum being adapted on flexible socio-professional profiles, so as to provide the opportunity for an education appropriate to the needs and different personalities of the young generation, while maintaining the balance between the two categories of disciplines, general and specialized culture. The teacher is in a position to learn permanently, to reform his work strategies, educational methods and objectives, in order to be able to give the trained ones an education in line with the realities of the world today, to have a change-oriented attitude in order to form the capacity of young individuals to adapt to a constantly changing competitive environment. The educational and pedagogical importance of theatre within school is recognized and proved long ago in other countries and in recent years in our country as well. About 20 years have passed since the Actor's Art specialization was introduced in the pre-university education system in vocational high schools. The meeting with students and specialists at the National Acting Olympiad held in Bucharest between April 22-25, 2019, confirmed to me that the actors in the world of education are facing a major problem: restoration of the objectives, redesigning of programs, definition of the most appropriate „teaching and learning” methods in order to prepare students for the world of tomorrow – artists, scientists, or business leaders.
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This article aims to present a theoretical transposition of the practical steps undertaken in order to prepare students to participate at the National Acting Olympiad. The subject is the specific problem of the objectives of the highschools drama education when preparing a performance. Theater pedagogy is an area explored with effervescence in the context of repositioning of the education philosophy regarding the efficiency of alternative pedagogies in order to improve and appropriate the didactic act from the individual’s perspective to actively integrate into a society of speed in which a well-defined educational ideal or purpose can no longer be announced. In our practical approach we have exploited the theatrical education from heterogeneous perspectives related to learning, personal development and professional specialization.
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The goals of dramatic art must be rethought in the current context of education, which leads to a fierce struggle with the lack of authentic values. Therefore, in order to reform the pre-university education a close collaboration with the university environment is required. The introduction of theatre techniques into education makes it possible to move towards an active teaching process stimulated by the game in accordance with the needs of the younger generation.
More...REPERE ŞI PARADOXURI TEATRALE PENTRU ELEVI ŞI PROFESORI
We all dreamed, at least once in our life, to become actors. All of us or almost all of us. Acting is a miracle. Or at least it should be. It is not an easy task, but, with patience and understanding, with a correct look at the art of the actor, on its teaching pedagogy, we can make this miracle happen. In the words of Professor Florin Zamfirescu: „Acting or magic?“ Let's hope for both.
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Theatre and dramaturgy have been and still are the mirror of society in a certain historical period, and society is the reflection of the history of that period. The various metamorphoses of Romanian history and society call for a re-evaluation of the objectives of dramatic art and, consequently, of the academic and pre-university theatre education in Romania. The time of the active art and of involved artists, with spirit of initiative, versatile, original and authentic, has arrived. In the many universities and pre-university theatre schools set up after the Revolution, masters are no longer formed, but the discovery or definition of the individuality, the creativity and personality of each artist is guided and supported.
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The scientific communication „The Reevaluation of Methods and Objectives for Highshool Theatre Classes“ starts from the idea that this digital generation tends to consider lecture, reading itself, as less important for their development. The acting techniques on the other hand could help the entire educational system. Through this exercise of reading, young individuals will gain a better personal - emotional, psychological, professional orientation; they will be better prepared for life. Improvisation, theatre exercises, the study of a scene, the lecture of plays, the exercise of the reading parts of a novel out loud - all of these are methods offered by the technique of the art of the actor to the general education and must be the strengths of pre-university theatrical education.
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In this article I speak about my professional observations and the importance of acting in education, since hopefully theatre will become mandatory in the Romanian educational system. On the other hand I report upon my experience and occurring questions about the use of mother tongue at the National Acting Olympiad in Romania.
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Theatre education is one of the main objectives of pre-university actor's art education. This type of education, through theatre techniques, develops the individual on all levels, develops his cognitive, physical and, last but not least, his emotional skills. From this point of view, theatre improvisation, the study of the scenes, the involvement in various situations from texts chosen by a teacher or suggested by the curriculum, helps the young high school student to configure his own personality, to recognize emotions and express them, to communicate with others, helps self-esteem, reduces anxiety, an exaggerated sense of pity, the dependence on being liked by others, eliminates inhibitions, facilitates freedom of expression overall. Another result of participation to actor's art workshops is the improvement of diction, language, communication due to Stage Speech classes and scenes work.
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The aim of the following article is to describe how devising can be used as a modern educational method for creating collaborative dramatic texts. This method is student centred, putting the focus on the pupils’ interests and needs, developing the collaboration skills, and allowing them to express themselves freely and creatively, without restraints from the teacher or the other peers. By applying this method, pupils become more self-aware and they practice coacting, which consist in abilities that forge the participatory individual both needed for the artistic area, as well as for other fields. Therefore, the method can be successfully applied in order to achieve the objectives in the pre-academic theatre education, such as: fostering creativity and triggering imagination, strengthening collaboration skills, developing critical thinking.
More...– O preocupare continuă –
This article presents some of the recent methods introduced to sound courses where I am a teacher. Themethods are based on technology (various applications) or learning styles (collaborative learning or reversal of studentteacher roles) and aim to revise the teaching concept, while also testing their effectiveness in terms of information assimilation among students.
More...– tehnici pedagogice dedicate omogenizării grupului –
The group homogenization techniques, the pedagogical approaches adapted to the new environment are important foundations for the evolution of the student’s personality as a future actor. Modern students, young individuals of the digital age, need a different kind of teacher-student relation. The article presents the evolution of the first steps in the actor’s art, a novelty in the education in Piteşti. The pedagogy of encouragement, of respect for the work partner, of cooperation is the key for a close student-teacher, student-student collaboration.
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Psychology of music, a science of the relations between humans and sound structures, is continuously developing. Given the growing number of publications in this domain, reviews of the literature are of value, as they integrate knowledge, informing and guiding future research endeavors. This article presents the results of a 47-year (1973–2019) content analysis of research on creating, practicing, and responding to music featured in The Psychology of Music journal. The purpose of our study was to identify and describe the themes in research on creating, practicing, and responding to music, indicating which study topics were the most often present in publications. We identified 17 categories of research topics and found that the largest number of publications dealt with predictors of music creating, self-regulated practice, or affective responses to music. Suggestions for developing and bolstering research and practice are provided.
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The aim of this article is to present selected concepts related to idea generation in musical com-position. Different approaches towards creativity are discussed in order to delineate how they describe spontaneous creativity. The typological view of composers and theories of the creative process are discussed. Further advances in studies of creative cognition are scrutinized: research on unconscious and conscious processes in creation, followed by the development of the concept of innovative Involuntary Musical Imagery (InMI) in composers. Current research on internal auditory phenomena suggests that composers’ InMI can be potentially innovative and serve composers as a source of ready ideas to be used in their compositions. The current overview is informed by cognitive sciences and creative process studies, especially compositional studies.
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The musical milieu raises a number of challenges for artists. Coping with these depends not only on the level of musical abilities but also on a number of personal skills. The diverse styles of music education and the expectations set for musicians performing various music genres have inspired research exploring the differences between classical and jazz musicians. Of the psychological areas important for functioning effectively as a musician, stress management styles and social skills have been examined in this study. It was assumed that the genre of publicly performed music, and thus the different modes of music education in the field of classical and jazz music performance, can cause significant differences in the psychological functioning of musicians. Of the 73 musicians who participated in the study, 38 were classical musicians and 35 were jazz musicians. The jazz musicians revealed a significantly higher level of social competence in terms of social exposure compared to the classical musicians. There were no differences in the style of coping with stress between the two groups. The results of the study might inspire psychologists working with musicians to plan therapeutic programs aimed at psychological preparation for public performances, with the specificity of musical genres taken into account. Future research may investigate the extent temperament and personality of musicians representing different specialties influence their stress coping strategies and social skills.
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In the last decade, the growing interest in the subject of musicians’ mental practice has produced a significant increase in research on mental and instrumental practice. More than half of all the studies concerns professional musicians, and relatively little research is conducted on children or adolescents. The article will describe research on the mental practice of teenagers attending music schools in Poland and Germany. Questionnaire surveys answer the question of whether young people use mental practice, how they do it, and what the content of mental training while practicing an instrument is. The analysis suggests that gifted adolescents from both countries (1) do not use mental rehearsal very often and (2) use mental practice strategies in a similar way. What they differ in is the frequency of using mental practice as an integral part of their instrumental learning, using musical-analytical strategy, and the quality of mental practice. The study indicates the need to teach mental practice and its importance in increasing the effectiveness of instrumental practice.
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