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Ustvarjanje gledališke predstave v tretjem razredu osnovne šole s prilagojenim programom : magistrsko delo
ID Vrhunc, Valentina (Author), ID Saksida, Igor (Mentor) More about this mentor... This link opens in a new window

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Abstract
Ne vemo, kaj bodo otroci potrebovali, ne vemo, kakšen bo svet, ko bodo prestopili prag odraslosti in bodo morali zaživeti v svetu, se samostojno odločati in krojiti usodo – svojo in širše skupnosti. »Gre za odgovornost do nečesa, kar ni vnaprej znano, zato gre do neke mere za odgovornost brez vedenja, kakšen bo rezultat« (Barle Lakota, 2010: 220). Gledališče prav tako govori o prihodnosti, o slutnji in hrepenenju, želji po preseganju znanega. Želi vplivati na ljudi in družbo. »Mislim namreč, da gledališče vsakokrat 'prikazuje' tisto, kar dejanskemu času najbolj manjka, po čemer je najbolj pomanjkljiv. Gledališče – zrcalo 'sedanjemu rodu in bitju sveta' ne kaže njegove 'oblike', temveč ga kliče, zapeljuje v 'obliko', ki je 'sedanji rod' nima« (Šeligo, 1989: 108). Zdi se, da sta funkciji gledališča in učitelja tesno povezani in prepleteni, ko govorimo o njuni vlogi pri opolnomočenju mladih za življenje. Skupna sta jima doživetje učencev in sredstvo prenašanja sporočil - ta notranja snov, ki prehaja v človeka od rojstva naprej – jezik. »Jezik je eden najbolj občutljivih izrazov našega bivanja. Je kot lakmusov papir, ki občutljivo zaznava vse spremembe človeškosti človeka, njegove družbenosti, spremembe v odnosu do sebe, drugih, do naravnega in družbenega okolja.« (Barle Lakota, 2010:214) Učitelj pripravlja učence na aktiven in odgovoren odnos do sveta. Bodoči odrasli bodo pripravljeni na ta izjemno pomemben prehod le, če bodo imeli trdno jedro zaupanja vase in druge (prim. Barle Lakota, 2010). Predstava Punch in Judy je vselej spremljala ljudi in se dotikala tem, pomembnih za določen čas. Vedno je bila na strani ponižanih z družbenega dna. Njeno jedro in bistvo, snov iz katere je ustvarjala in še ustvarja Punchev svet – pogosto nasilen in kaotičen -, je dvig iz potisnjenosti na stranski tir izkoriščanja in prevzem kontrole nad lastnim življenjem. Predstava Punch in Judy osvetli vzvode moči in jih karikira, kar doživimo kot anarhično, neukrotljivo in nespoštljivo, predvsem pa osvobajajočo silo. Punch odraža čas. Današnji kliče po zavzetih, empatičnih, pogumnih mladih, s posluhom za naravo, družbo, skupnost in solidarnost; po ljudeh, ki se bodo odločali po lastni vesti, z mislimi na skupno dobro. Odgovornost učiteljev je, da s svojim zgledom, delovanjem in razmišljanjem pomagajo oblikovati otrokov aktiven in odgovoren odnos do sveta. Smiselno se je varovati vabljive skušnjave 'lažje poti', na kateri bi se ognili neprijetnostim in tako 'zaščitili' otroke pred slabim. Na to opozarja S. Žižek (2020: 26): »Namen izobraževanja ni več streznitev, ko nam je omogočen spoprijem z družbeno stvarnostjo – in ko nam govorijo, da ta varnost preprečuje mentalne zlome, bi morali odgovoriti z ravno nasprotno trditvijo: zaradi takšne lažne varnosti smo izpostavljeni duševnim krizam, ko se moramo spoprijeti s svojo družbeno stvarnostjo.« Šolsko leto smo posvetili predstavi Punch in Judy. Doživeti smo jo želeli celostno, razumeti skrita sporočila. Poglabljali smo se v dramske like, jih igrali in se vživljali v njihov intimni svet. Dotaknili smo se vprašanja pravil, odnosov in vlog, ki jih igramo tako v družini kot v skupnosti, ter spoznali, da prihodnost zaznamujejo naša pretekla in sedanja dejanja, vendar ne usodno, lahko ravnamo drugače, če nas ponavljajoči se vzorci prizadanejo. Če je življenje oder, je gledališče prostor, ki omogoča preizkušanje vlog, različnih izbir in ravnanj; je prostor razmisleka, srečanj z Drugim, ki ti odkriva svoj svet in se ob tem dotakne tvojega. Zato odločitev za gledališče, za dramski izraz. Zato smo v sedanjost priklicali starodavnega 'klovna', preizpraševalca in pobudnika novih idej. Spodbujal nas je k preizkušanju svežih zamisli in vabil v premislek o lastnem ravnanju. Z njegovo pomočjo smi si želeli utreti pot do človeka, ki se čuti zasidranega v svoji sredini, z lastno vrednostjo in mestom pod soncem.

Language:Slovenian
Keywords:Predstava Punch in Judy, gledališče, doživljanje učencev, svet fikcije in stvarnosti, poustvarjalne dejavnosti, procesna drama
Work type:Master's thesis/paper
Typology:2.09 - Master's Thesis
Organization:PEF - Faculty of Education
Place of publishing:Ljubljana
Publisher:V. Vrhunc
Year:2023
Number of pages:126 str.
PID:20.500.12556/RUL-144464 This link opens in a new window
UDC:376(043.2)
COBISS.SI-ID:143809283 This link opens in a new window
Publication date in RUL:23.02.2023
Views:283
Downloads:28
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Secondary language

Language:English
Title:Creating a Theater Performance with the Third Graders of the Specialized Elementary School
Abstract:
We do not know what children will need, we do not know what the world will be like when they cross the threshold of adulthood and have to live independently, make decisions and shape their destiny – their own and that of a wider community. "It is a responsibility to something that is not known in advance, so it is to some extent a responsibility without knowing what the outcome will be" (Barle Lakota, 2010: 220). The theatre also refers to the future, foreboding and longing, a desire to transcend the known. The theatre wants to influence the people and society. "I think that the theatre always 'reveals' what is most lacking in real-time, what is most deficient. The theatre – the mirror of ‘the present generation and being of the world' does not show its 'form', but calls it, seduces it into a 'form' that ‘the present generation does not possess" (Šeligo, 1989: 108). The tasks of the theatre and the teacher seem to be closely connected and intertwined when we talk about their roles in the shaping of a Human being. They share the stimulation of thinking, the rich world of experience brought about by involvement in the process of learning or performing – and the means of transmitting messages – this inner substance that passes into a person from birth – the language. “The language is one of the most sensitive expressions of our existence. It is like a litmus paper that sensitively perceives all changes in the humanity of a man, his sociability, changes in his attitude towards himself, others, and the natural and social environment” (Barle Lakota, 2010: 214). The teacher prepares the students for an active and responsible attitude toward the world (e.g., Barle Lakota, 2010). Future adults will only be able to make this extremely important transition if they have a solid core of confidence in themselves and others. The Punch and Judy Show has always accompanied people and dealt with topics relevant to a particular period. The Show has always been on the side of the humiliated from the social bottom. Its core and essence, the substance from which it has created and continues to create Punch's world – often violent and chaotic – is the unjust world. The Punch and Judy Show illuminates the levers of power and caricatures them, which is experienced as an anarchic, indomitable, disrespectful, and above all, a liberating force. Punch reflects the time. Today we need committed, empathetic and courageous young people with an affection for nature, society, community and solidarity; we need people who are led by conscience and the common good. Teachers’ responsibility is to help shape children’s active and responsible attitude towards the world through their example, actions and thinking. Avoiding hard things is much easier, but not in favour of children. S. Žižek (2020: 26) points to this: “The purpose of education is no longer sobering up when we are enabled to deal with social reality – and when we are told that this security prevents mental breakdowns, we should respond with the exact opposite statement: because of such false security we are exposed to mental crises when we have to deal with our social reality.” A school year was dedicated to the Punch and Judy Show. We aimed to experience it holistically, to understand the messages of the dramatic characters to whom we allowed to express their truth, and to indulge in their intimate worlds by playing scenes. We focused on the issues of the rules, relationships, and roles that we play in the family as well as in the community. We realized that the future is shaped by our past and present actions, but not fatally; we can act differently if recurring patterns hurt us. If life is a stage, then the theatre is a space for experiencing different roles, choices, and actions. It is a space of reflection, of encounters with the Other, which reveals his/her world and affects yours at the same time. Hence the decision for the theatre, for the dramatic expression. That is why we have introduced the ancient ‘clown’, the interrogator and initiator of new ideas in the present time. We were encouraged to try new ideas and to reflect on our actions. With the help of a puppet, we tried to pave our way to the Human who feels anchored in his/her community, with his/her value and place under the sun.

Keywords:Punch and Judy Show, theatre, students' experiences, the world of fiction and reality, postcreative activities, process drama.

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