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The Outline of Children Theatre Methodology.
No full textThere is the stage and never – ending discussion whether the role of theatre is for the child’s self – development, game, an artistic self – expression or whether it should help to reveal inborn abilities and develop theatrical skills. School theater in Lithuanian culture has got two prominent tendencies. One of them is the classical educational student theater developed by Society of Jesus; another – the contemporary children and teenagers’ play theater which works in youth clubs and schools. In both cases, theater is not the aim, but the way for a young person to reveal oneself and find their inborn expression strengths. According to long – time practice at work, there are attempts made to concentrate on the methods which help reduce stress while using individual and personal experience of thematic play and improvisation. First of all, this thesis presents the current situation of the school theater, the research on the public views to the theater as the teaching method is given, some conditions, such as planned or intentional, which may disrupt work are mentioned. The most important part consists of the analysis of the application of contemporary school theater forms and methods. The main form of school activity is the lesson. The integration of theater in lessons expands its possibilities. The Soviet theater pedagogy applied only one method of Stanislavsky system. Many of its components, such as reincarnation, are specific and may be applied just in professional theater. While working with the youngest group of schoolchildren, it is not always possible to apply such complicated methods even by professionals. Classical play methods suggested by Geniušas are invoked. Children theater transforms into family theater and folk acting methodology adds. The most difficult task is the transformation into teenagers’ theater. It is not enough to suggest play situations for educated youth. They are attracted by a working idea. Thinking is as an action. The cultural anthropology or myths are invoked. The analysis of the mythical, historical and the detection of present equivalences partly compensate playfulness; childish passion turns into summarized wisdom. Young view shifts to classical values without didactics. Public speaking or literature reading method is of vital importance to the self – expression of a young personality. It is very complicated to define how important theater or rhetoric there is. It is especially difficult to establish the criteria of evaluation in various level contests or public reading. In many cases there are different rules created, therefore, schoolchildren do not understand what reading aims and ways are appropriate. Because of the limits for this thesis, the chapter about word, text and composition is in appendix chapter
Education trough Theatre at the Institution of Non-formal Education.
No full textEducation through theatre for schoolchildren, theatre education planning and organization in the institution of non-formal educational, collaboration of schools of general education with the institutions of non-formal education while solving the problems of education through theatre for schoolchildren is still little explored area containing a number of issues and problems which are topical both for the heads of educational institutions and for theatre teachers. It is a new and a relevant topic. The object of this research is the education through theatre for schoolchildren in the institution of non-formal educational, and the main aim is to reveal the peculiarities of the education through theatre for schoolchildren in the institution of non-formal educational and its influence on the general development of the personality, and to foresee the opportunities of upgrowth/development of education through theatre. This Master thesis analyzes the documents, which regulate the organization of education through theatre in institutions of non-formal educational, and the sources of scientific literature. The thesis also surveys the newest studies in the sphere of theatre education. The research aimed at revealing the following / the objectives of the research are as follows: to reveal the main goals, the most relevant problems and the theoretical assumption of development of education through theatre for schoolchildren in the institution of non-formal educational; to survey the variety of forms and the peculiarities of education through theatre for schoolchildren in the institution of non-formal educational; to analyze the practical expression of specific features of education through theatre for schoolchildren in the institution of non-formal educational and the assessment of influence on the maturity of the personality; to prepare strategic directions of the collaboration between the institution of non-formal educational and the school of general education, and to make the draft of the forms of joint activities in the sphere of education through theatre for schoolchildren. Theoretical, empirical and statistical methods of research have been applied. The following have participated in the research: current schoolchildren of Theatre Studio (“Pilies teatras”) of Schoolchildren Centre of Creative Work of Tauragė District (26), former schoolchildren (14), schoolchildren of the schools of general education of Tauragė district (26), heads of the schools of general education of Tauragė district (13). The research has revealed that the objectives, functions and forms of activities of education through theatre are especially close to the essential functions and forms of activities of non-formal education. Schoolchildren successfully apply knowledge and skills, which their obtain engaging in the activities of education through theatre exercised in the institution of non-formal education, in their school life, process of learning and in the organization of leisure entertainment. Education through theater makes a significant influence on the maturity of the personality, it helps forming significant social competencies of schoolchildren and attitudes to communication, it develops the first principles of democracy and tolerance, and therefore the foreknowledge of strategic directions of interinstitutional collaboration, the creation of the partnership of the institution of formal and non-formal education is a significant step ensuring the development of education through theatre
Sacrality and nationality of the theatre
No full textLietuvos Katalikų Bažnyčia yra nemažai nusipelniusi tautinei kultūrai. Dramatiškais Lietuvai laikais Bažnyčia, vykdydama savo pastoracinį darbą, naudojo teatrą kaip sielovados formą, kaip tautinio sąmoningumo apraišką. Palėvenės vienuolyno sakralinio meno šventė yra genetiškai susijusi su senąja lietuvių teatrine kultūra. Reikšminiai žodžiai: Palėvenė; Sakralumas; Sakralumas, teatras, Lietuvos teatro istorija, liaudies menas, nacionalizmas; Tautiškumas; Tautodailė; Teatras; Folk art; Nationality; Palėvenė; Saceality; Sacral, theatre, Lithuanian theatre history, folk art, nationalism; TheatreThe festival of sacral art is organise Monastery. While describing and analysing performances of modern theatre groups, there are attempts to trace the contribution to the culture, which was made by Lithuanian Catholic Church. Various forms of cultural activities performed by the Church are compared. Those forms were used at all difficult times in Lithuanian history, such as the prohibition of the press, several Russian occupations, and the epoch of bolshevism. Having compared the cultural activities performed by the Church in different epochs, it is proved that Lithuanian Catholic Church has been always protecting the nationality of the Catholicism, from the time of the bishop M. Giedraitis till the time of the bishop J. Kauneckas
On the present and historical conciousness
No full textŽmogaus (ypač to, kuris savo darbais formuoja visuomeninę sąmonę) istorijos suvokimas, atsakomybės ir pilietiškumo jausmas yra vienas svarbiausių kultūros raidos klausimų. Kad galėtų liudyti istoriją, asmuo privalo turėti gyvą istorinę sąmonę. Dabar vis labiau ryškėja voliuntarizmo apraiškos, kai subjektyvi nuomonė pateikiama kaip visuotinai priimtas faktas ar neginčijama tiesa. Lietuvių liaudies teatras, visais laikais egzistavęs ir plėtojęsis kaip savaime suvokiamas reiškinys, mokslinėje plotmėje ir informaciniuose leidiniuose staiga imamas neigti. Šiame straipsnyje bandoma atsekti to vyksmo priežastis ir argumentuotai paneigti kultūros faktų neatitinkančius teiginius. Reikšminiai žodžiai: Brandi asmenybė; Esminė V. Maknio paklaida; Istorinė sąmonė; Klojiminė kultūra; Liaudies teatras; Mokslinė etika; Požiūriai į lietuvių liaudies teatrą; Teatrinė liaudies savimonė; Teatro istoriografija; Tradicija; Attitudes toward Lithuanian folk theatre; Barn culture; Folk theater; Folk theatre; Historical conscioousness; Historical consiousness; Mature personality; Scientific ethic; Scientific ethics; Self- consciousness of folk theatre; The essential V. Maknys error; Theatre historiography; TraditionFolk theatre must be viewed as a cultural tradition or heritage. Our philosopher Antanas Maceina says that "the tradition is never obsolete because it is the creative expression of people , the tradition is all that people created during centuries , cultural tradition is the embodiment of people’s experience forms". However, the problem of the given case lies not in the tradition itself, but in the valuator’s personality. Historical consciousness comes to the fore. One may be the connoisseur of the global theater culture, but will not be compared to a Japanese who saw the fate of kabuki theatre or a Greek shielding Dionysiacs in ones genetic memory. Their historical consciousness is different. Teaching about an individual within history and its historical consciousness is the most important reference for contemporary cultural valuator. Individual has to develop from history and be responsible for the nation’s historical interpretation. The perception of folk theatre is within Lithuanians blood. Forbidden nature idolatry, deprivation of press, the abolished state; but we have saved various forms of folk performances. It lies in our historical consciousness. Woe to those who did not experience the forbidden fruit and did not inherit with the mother’s milk. The negation of Lithuanian People’s Theatre is the consequence of spiritual disability or the complete atrophy of historical consciousness. The main cultural conflict tangled up when the theatricologist Irena Aleksaitė published brutal article about the works of the Lithuanian theatre history patriarch’s Vytautas Maknys works, and unreasonably argued that "a key theatre historian’s error is the isolation or the identification of Folk theatre". First, Folk Theater is neither structure nor organization. As a folk song or folk architecture, or cross working, it is the consequence of the manifestation of people’s creativity. Neither folk singers, or carpenter had any organizational structures, but nobody doubt that the individual people or groups of people were folk masters or folk singers who preserved and developed the spirit of the nation. Acting is also an integral part of folk art. Theatricologist may have ones own view, but cannot impose it to the entire nation. After the publication of the mentioned I. Aleksaitė’s article all information about Lithuanian folk theater as ethnic cultural object was cleared off from the encyclopedic publications. A natural question occurs: what can condition such important issues of national culture and whether such things are legal
Church and theater or the forms of national activities in the Catholic Church in Lithuania
No full textReikšminiai žodžiai: Bažnyčia; Drama; Kunigai; Lietuvių Katalikų Bažnyčia; Lietuvybė; Teatras; Curch; Drama; Lithuanian identity; Priests; The Catolic Church in Lthuania; Theatr
Light of Motiejus Valančius personality
No full textReikšminiai žodžiai: Asmenybė; Tautinis atgimimas; Motiejaus Valančiaus asmenybė; Motiejus Valančius; Pilietinis pasipriešinimas; Žemaičių vyskupas Motiejus Valančius; Civil disobedience; Moteijus Valančius Personality's authenticity; Motiejus Valančius; Personality; The Lithuania's national life; The samogitian bishop Motiejus Valančiu
Vincas Kudirka: Lithuanian positivism and theatre
No full textLietuvių teatro pradžių pradžioje, prie nacionalinės dramaturgijos ištakų, iškyla viena pjesė - A. Vilkutaičio-Keturakio "Amerika pirtyje". Ir tai ne atsitiktinis reiškinys mūsų teatro kultūros istorijoje. Lietuvoje nėra vietovės, kaimo ar miestelio, kuriame nors kartą nebūtų suvaidinta ši komedija. Straipsnyje siekiama nustatyti socialines priežastis ir estetines bei moralines prielaidas, lėmusias šio kūrinio aktualumą ir ilgaamžiškumą. Pjesė traktuojama kaip politinis tautos sąmoningumo ir apsisprendimo aktas. Nagrinėjama V. Kudirkos "Varpo" tautiškos kultūros ideologija, asmenybės pasaulėjautos ir tautos likimo sąveika, skatinanti kultūros procesus, bei pozityvus mąstymas kaip filosofinė pasaulio suvokimo sistema. Reikšminiai žodžiai: Spaudos draudimas; Asmenybė; Pozityvizmas; Teatras; Dramaturgija; Press ban; Personality; Positivism; Theatre; DramaturgyThe history of the Lithuanian theatre culture, at the bottom of the national dramaturgy, at the very beginning of the theatre, we can always see one play written by Keturakis - "Amerika pirtyje" (America in the Path). And this is not just an accidental coincidence. You will not find a place in Lithuania, neither a village nor a town, which would not have this play performed on their stage at least once. The article inquires into the social reasons, which brought this masterpiece to our culture, as well as the aesthetic and moral preconditions, which determined its relevance and longevity. The play is as a political act of the nation's consciousness and determination. V. Kudirkas "Varpas" raises the ideology of a national culture, the interaction between the personal emotional attitude and the nation's destiny which activates the cultural processes, and a positive thinking as a philosophical system facilitating the understanding of the world
Catholic Church and Lithuanian drama
No full textMažojoje Lietuvoje vyraujančio tikėjimo skelbėja evangelikų bažnyčia, vertino giesmes, bet neigė teatrą. Todėl šioje Lietuvos dalyje nebuvo nei teatro, nei dramaturgų. Didžiojoje Lietuvoje švietimą ir kultūrą globojo jėzuitų vienuoliai. Jie sukūrė tinkamą terpę dramos, o kartu ir teatro vystymuisi - daugelis katalikų bažnyčių turėjo savo teatrą. Šis palyginimas atskleidžia naują mūsų kultūros faktą. PAGRINDINIAI ŽODŽIAI: bažnyčios teatras, dramaturgai, vienuoliai, spektakliai.Having compared the results of the drama in the Great Lithuania and Lithuania the Minor from the time of the bishop M. Giedraitis, an interesting situation has been discovered. Vilnius Academy, which was under the care of the Catholic Church supported theatre perform ances. The Academy had reared lots of Catholic priests who followed up Jesuits example, supporting theatre and composing plays by them selves. Therefore, drama as a genre of literature became popular in the Great Lithuania, almost every church had a theatre. This tradition was lasting for several ages
Žmogus turi vardą
Get PDFKadaise prof. Vytautas Jakelaitis įžvalgiai numatė Lietuvos mokyklinio teatro svarbą ir, kuriantis Klaipėdos universitetui, čia įsteigė mokyklinio teatro režisūros ir lituanistikos specialybę. Niekur kitur tokio darinio nerasite, tai buvo viena paklausiausių ir patraukliausių mokytojo specialybių. Per kelias dešimtis metų absolventai pasklido po Lietuvą, ir dabar daugelyje Lietuvos mokyklų mes turime unikalų Mokyklinį teatrą. Ir ne tik tai. Išradingi pedagogai lengvai integruoja dramą į kitas pamokas
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