Stockholm University of the Arts
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BILDNINGSINRIKTAD UNDERVISNING I DANS OCH TEATER SOM SKOLÄMNEN PÅ GYMNASIET
No full textVi presenterar delar av resultat i ett pågående projekt finansierat av Skolforskningsinstitutet (2021–2024). Syftet med projektet är att utveckla kunskap om innebörden av kunnande som kommer till uttryck i kroppslig, gestaltande form samt att på vetenskaplig grund utveckla metoder som kan stärka undervisningspraktiken i skolämnena dans och teater. Ett mer kvalificerat sätt att kunna något beskrivs, utifrån variationsteorin, som ett mer förfinat urskiljande, och genom att erfara variation kan man urskilja olika aspekter av ett fenomen (Marton, 2018; Marton & Pang, 2006; Runesson & Marton, 2002). Återkoppling som sker i undervisningssituationer studeras i projektet där de avbrott som läraren gör i repetitionsarbetet av en scenisk produktion kallas för didaktiska interventioner. De didaktiska interventionerna identifieras i metoden action(re) call (Ahlstrand 2015, 2020). Den återkoppling som ges på individnivå i de didaktiska interventionerna utgör underlag för planering och genomförande av helklassundervisning i ett avgränsat antal forskningslektioner. Utgångspunkt för projektet och undervisningen är ett praktikteoretiskt perspektiv: Ämnena ger begrepp att förstå världen med. Förståelsen kommer dock inte automatiskt med begreppen utan måste erövras genom att använda dem i ett sammanhang där de fyller en funktion. I ett praktikteoretiskt perspektiv bestäms ett ämnes bildningspotential inte endast av vilka kunskaper som behandlas utan väl så mycket av vad vi gör med kunskaperna och av det sammanhang där kunnandet tar form (Carlgren, 2021, s. 130). Vi kommer under presentationen visa hur undervisningen hanterat centrala begrepp i dans och teater där eleverna erbjuds möjligheter att utveckla aspekter av ett kunnande gällande begreppen på ett systematiskt sätt. Vi argumenterar för att en bildningsinriktad undervisning kan utvecklas med hjälp av beskrivna metoder och teorier (ibid.). Referenser Ahlstrand Pernilla (2015). ”Inte ett öga torrt” - en studie rörande ämnesdidaktiska val i teaterundervisning. Forskning om undervisning och lärande, 3(15), 38-60. Ahlstrand, Pernilla (2020). A method called action(re)call. How and why we use it, Research in Drama Education: The Journal of Applied Theatre and Performance, DOI: https://doi.org/10.1080/13569783.20 20.1779584 Carlgren I. (2021). Bildning och kunskap. I Maria Andrée, Gabriel Bladh, Ingrid Carlgren, & Malin Tväråna. Ämneslärarens arbete. Didaktiska perspektiv. Natur & kultur. Marton, Ference, and Ming Fai Pang. 2006. On Some Necessary Conditions of Learning. The Journal of the Learning Sciences, 15(2), 193–220. Doi:10.1207/s15327809jls1502_2 Marton, Ference. 2018. Towards a Pedagogical Theory of Learning. In: Matsushita, K. (eds) Deep Active Learning. Springer. Runesson, Ulla & Marton, Ference (2002) The object of learning and the space of variation. In F. Marton & P. Morris (Eds.), What matters? Discovering critical conditions of classroom learning. Göteborg: Acta Universitatis Gothoburgensis
Dance a book
No full textDansa en bok är en undervisningsmetod som kombinerar barns läsförståelse, språktillägnan och dans. Metoden främjar till ett konstnärligt förhållningssätt genom att dans används som medel för att utveckla barns språk och läsförståelse. Genom att ”sätta boken i kroppen” med hjälp av dans ges barnen möjlighet till kroppslig förståelse av litteratur och språk. Boken i sin tur inspirerar till rörelser, dans och uttryck. Metoden kan användas till valfri bok anpassad till valfri åldersgrupp. Främsta åldersgrupper har varit barn mellan två och nio år. Dansa en bok har etablerats på förskolor, skolor och bibliotek över hela Sverige. Föreläsningar och workshops har även gjort i en del i andra länder såsom Finland, Belgien, Tjeckien, Colombia och Hong Kong. Föreläsningsdemonstrationen består dels av en muntlig presentation samt en fysisk workshop där deltagare bjuds in till att Dansa en bok. Workshopen kombinerar läsning, diskussion, improvisation och dans. Metoden är framtagen i ett samarbete mellan Sophia Färlin-Månsson och Regionbiblioteket och Region Uppsala med delvis finansiering av Statens kulturråd.Dance a Book is a teaching method to combine children’s reading and language learning through creative Dance. The method promotes an artistic approach to use the body in dance and at the same time developing language and reading skills. By embodying the Book, with the help of dance, the children a given the opportunity for to get a higher comprehension of language and literature. The book in tur inspires movement, dance and expression. The method may be used with any book adapted to any age group. The main age groups have been children between the ages of two and nine. Dance a Book has been established in Pre-schools, Schools and Libraries all over Sweden. Lectures and workshops have also been held in some other countries such as Finland, Belgium, the Czech Republic, Colombia and Hong Kong. The lecture demonstration is both an oral presentation and a physically workshop where participants are invited to Dance a book. The workshop combines reading, discussion, improvisation and dance. The method has been created in a collaboration between Sophia Färlin-Månsson and the State Library of Uppsala, Sweden partially funded by the Swedish art council
36 fuck up’s not to make in a film production : an examination between authenticity and compromise in a film production
No full textHow should I proceed myself? First, I need to delve a bit deeper into my owninterpretations of the words I use to describe the practice of a skill. For example: What isauthenticity? When does the team feel that I, as a director, am using an authentic voice?Am I authentic when I approach the actors? Am I truly listening to the team and theactors? Am I capable of recognizing an authentic voice? What makes a good film? Whatmakes a good performance? What makes a bad performance?The relationship between a film director and their actors is a crucial factor in the filmproduction process. A director's approach to working with actors can have a significantimpact on the final outcome as well as on the actors' overall experience. A common methodis for the director to have a practical and collaborative relationship with their actors. Thismay involve giving specific instructions and guidance on character development andperformance, as well as working closely with the actors during rehearsals and sceneblocking. Some directors may also use improvisation and experimentation as a way to findthe most effective performance from their actors. Other directors take a more hands-offapproach, allowing their actors more freedom to interpret their characters and contributetheir own ideas. This can lead to a more organic, spontaneous performance, but it alsorequires a lot of trust and communication between the director and the actors. Regardlessof the specific method, it is important for a director to have a clear vision for their film andto be able to communicate this vision effectively to their actors. This may involve providingcontext and background information about the characters and the story, as well as givingfeedback on performance and making adjustments as needed. Ultimately, the most effectivedirectors are those who can build a positive and collaborative relationship with their actorsand who can bring out the best in their performances through clear communication and ashared understanding of the film's goals. So, the director's relationship with the actors is avery important factor in the film production process. There are several ways that a filmdirector can bring out the best in an actor: Clear communication: It is important for adirector to clearly communicate their vision for the film and the specific character the actoris playing. This may involve providing context and background information, as well asgiving specific feedback on performance. Rehearsals: Rehearsals can be an effective way for adirector to work with actors to refine their performances and ensure they align with theoverall vision for the film. Collaboration: A director can foster a positive and collaborativerelationship with their actors by inviting them to contribute their own ideas and by beingopen to their input. This can create a sense of trust and mutual respect, which can lead tobetter performances. Trust: Trust is an essential component of the relationship between thedirector and the actor. A director who trusts their actors and allows them to interpret theircharacters in their own way can often bring out their best performances. Support: Adirector who provides support and encouragement to their actors can help build theirconfidence and inspire them to give their best. This can include providing feedback,offering constructive criticism, and offering encouragement. Finally, the most effective directors are those who can build positive, collaborative relationships with their actors andcreate an environment where the actors feel comfortable and supported, which can lead tothe best possible performances
Barndans i virvlande flöde mellan kropp och ord : En a/r/tografisk studie i den danspedagogiska metoden Dansa en bok
No full textDen här uppsatsen undersöker den danspedagogiska metoden Dansa en bok tillsammans med en barngrupp i fyra till femårsåldern i förskolan. Syftet är att undersöka och synliggöra barns uttryck när dans och ord möts utifrån barns aktörskap i rhizomsikt lärande. Metodologiskt tar denna studie avstamp från a/r/tografi som är en praxisnära och estetik-baserad forskningsmetod där forskaren genom sin kropp och sitt egna deltagande kan hålla sig nära det som undersöktes. Som analysmetod användes sekventiell analys vilket innebar att analysen skedde direkt i forskningsstunden där forskarens instruktioner i växelspel med barnen ledde arbetet framåt. Övrig dokumentation skedde via loggboksanteckningar. Forskningsresultatet är analyserat med inspiration från några begrepp av Gilles Deleuze och Felix Guattaris immanensfilosofi. Även barns aktörskap var ett begrepp som genomgående var närvarande i studien. Resultatet visar att när barnen får möjlighet att vara kreativa i den danspedagogiska metoden Dansa en bok uttrycker sig barnen med variation både verbalt och kroppsligt. Genom improvisation och eget skapande synliggjordes inte bara barns utveckling i dans utan även barns tillägnande av språket och förståelse av boken. Den kreativa stunden ledde även till ett lustfyllt lärande. Ett ytterligare kunskapsbidrag i denna studie är att visa hur ett förändrat tänkande utifrån immanensfilosofi kan producera nya sätt för görande och lärande i danspraktiken.This essay examines the dance pedagogical method Dance a Book together with a group of children aged four to five in preschool. The purpose is to investigate and make visible children's expressions when dance and words meet, based on children's agency in rhizome-based learning. Methodologically, this study is based on a/r/tography, which is a practical and aesthetically based research method where the researcher, through the body and own participation, can stay close to what has been investigated. Sequential analysis was used as the analysis method, which meant that analysis took place in the moment when the researcher gave instructions to the children to lead the work forward. Other documentation was logbook notes. The research results are analyzed with inspiration from some concepts in Gilles Deleuze and Felix Guattari's philosophy of immanence. Child agency was also a concept that was consistently present in the studies. The results showed, when the children have opportunities to be creative in the dance pedagogical method Dance a Book, the children express themselves with variety both verbally and physically. Through improvisation and own creativity, not only children's development in dance was made visible, but also children's acquisition of the language and understanding of the book. The creative moment also led to joyful learning. Furthermore, this essay contributes additional knowledge to the field for showing a changed way of thinking, based on the philosophy of immanence that can create new ways of doing and learning in dance practice
Maskörens metoder för motivation : - När finns motivationen och när försvinner den?
No full textThis is an essay about my personal reflection of what motivates me and which methods I use to understand and maintain my motivation as a mask- and wigdesigner
En teaterhändelses ljudbild : slutredovisning juni 2024
No full textPå vilket sätt kan ljuddesign och skådespeleri samarbeta för att på ett tidigare stadium skapa en ljudmässig atmosfär som underlättar klivet in i en fiktiv situation – både ur ett skådespelar- och ljuddesignperspektiv? Vi har velat undersöka hur skådespelare och ljuddesigner kan mötas i ett arbete utanför de traditionella ramarna genom att utmana våra respektive processer och behov i ett laborativt projekt utan krav på att nå fram till en färdig föreställning
Variation theory as a teaching theory in the theatre classroom
No full textPurposeThe paper presents and discusses an example of findings from a research project. Filmed material from teaching situations in theatre has been the starting point for analysing and planning similar teaching situations in research lessons, where variation theory was used. The aim of using variation theory is to develop teaching practices in the school subject of theatre at upper secondary school level in Sweden. Design/methodology/approachIn the article, one example from the last part of a three-step research project design is discussed. In the third part of the design five research lessons, based on variation theory, were conducted. The starting point for planning the research lessons was teaching situations called didactic interventions, when the teacher interrupts the theatre rehearsals of a stage production and gives response on the student´s acting. The specific situations are used when planning five research lessons based on variation theory. In this paper, one example from one of the research lessons is presented, exemplifying how variation theory has been applied. FindingsThe example shows how variation theory was used in analysing and facilitating teaching in the classroom. The findings suggest that teachers can use variation theory as a way to strengthen the student’s experience of specified objects of learning, in this case, interplay in acting. Another conclusion is that variation theory is helpful when planning whole class teaching situations in the school subject of theatre. Originality/valueThis paper fulfils an identified need to study how to develop teaching practices in the school subject of theatre
”det är som att liksom hoppa ner i en vattentunna” : - en studie om danspedagogers arbete med koreografi i dansundervisning
No full text“it is like jumping down into a water-barrel” – a study about dance pedagogues work with choreography in dance education This study examines how modern- and contemporary-dance pedagogues, in Sweden, work with choreography in their teaching. The purpose of this study is to through a phenomenographical perspective examine a selection of dance pedagogues perceptions of what the meaning of the phenomenon choreography has in their teaching. This is to hopefully contribute to an increased understanding of how choreography can be used in dance education. The research questions are How does three dance pedagogues perceive the usage of choreography in dance education? and Which pedagogical aspects can affect the teaching in dance? The study was researched through three semi-structured interviews which were processed and analyzed through Kvale´s interview-guide and Dahlgren’s & Johansson’s phenomenographical method for analyzing. The results show three main categories of description that were distinguished; The student´s affect in the dance education, The teacher´s affect in the dance education and Knowledge from choreographic processes. Each category was perceived differently, yet many connected to each other. Though this is a small-scaled study, the variation of perceptions shows many different ways to recognize and understand choreography’s and pedagogy’s relation to each other. Further research needs to be done to verify if these factors are important to the bigger population of dance-educators.2023-05-05Språk: SvenskaPraktiskt presentation. Geslatade del utav resultatanalysens tredje rubrik.Stockholms konstnärliga högskolaBrinellvägen 58, Stockholm</p
Art e miss
No full textThe project of Art e miss is a moving practice and research, an embodied exploration of the wild woman archetype. The research is aiming to practice ways to mobilize one-female-self in situations of feeling restricted. It is about approaching ways of mobilizing oneself to act and transform situations and moments of friction. On a personal level, it works with the question ‘How can I overcome situations in which I feel restricted? How can I transform those situations into situations that support me and my desires?’ On a political level, it is a feminist practice for imagining and proposing alternatives. It tries to empower the female to seek possible different responses against dominant ideas and structures of oppression. For exploring this question within the field of dance and movement, the project of Art e miss uses imagination, playfulness, and modes of relating to generating mobility and movement. The project uses strict scores to generate the structure in which the performers can practice. In this structure, the performers practice spontaneously reacting at the moment through improvised dances and mobilizing themselves as a response to the restrictions of the task.Performative and mediated practices, with specializations in choreograph
Respons-Ability : A post-neurotypical approach to audience-performer connectivity within Sensory Theatre
No full textThis is an empirical study of myself as a present, and non-present, performer with the aim to study in what ways can the connectivity and communication start, evolve and progress within sensory theatre performance for disabled and diverse young audiences. I have examined the areas of performative; space, play, awe, curiosity, anticipation, action, listening and responding. The opportunity of finding my own methodology has included stepping out of my role to embrace failure and disorder, which has been very stimulating and exciting. The challenges have been many but some of them were concerned with how to analyze and evaluate human connection, when the experience is a felt experience, from my perspective as an actor/performer, and not an intellectual proposition. In the results I present a methodological model of performative connection which consists of steps that can loop in different intervals and are correlated and dependent on the others. The conclusion states that the core is found in the one-to-one encounters and the deep human connection between performer and audience participant. The underlining aim of my project and this essay is a theatre practice where all humans are welcomed and celebrated, which promotes a more accepting and inclusive society that embraces disability and challenges traditional conceptions of what theatre should be.In this essay I have a film of the sea and a sound recording. These are not availiable in the Diva form. </p