Pedagoško gledališče kot samostojni predmet in predlog implementacije pri pouku slovenščine : diplomsko delo

Oven, Flores (author), Milohnić, Aldo (mentor), Lukan, Blaž (comentor)

Gledališka umetnost je ena tistih umetnosti oziroma področij, ki se lahko uporablja za kroskulikularno povezovanje skoraj vseh predmetov v šolskem programu, saj sama igra predstavlja temelj učenja in s tem otrokom omogoča celostno, življenjsko in prijaznejše, predvsem pa učinkovitejše učenje. Pri učenju skozi gledališče se lahko poslužujemo klasičnega gledališča z igralci ali lutkami, pri čemer like in predmete oživimo in jim pripišemo osebnosti. Gledališke metode tako olajšajo pomnjenje, spodbujajo samostojno mišljenje in analitične sposobnosti učencev. Pri tem je pomembna vloga pedagoga, ki s svojim usmerjanjem bistveno prispeva k pomenu in razumevanju učne snovi. Drama kot učni pripomoček ne obravnava le drame kot zgolj gledališke zvrsti ali literarnega besedila, pač pa predvsem govori o dramski sposobnosti kot antropološki lastnosti vsakega človeka. Posebnost kreativne drame je tako v uporabi dramskih tehnik, natančneje v uporabi načinov izražanja, pri katerih so resnični ali izmišljeni dogodki, bitja, predmeti, pojavi in odnosi predstavljeni skozi odigrane vloge in situacije. Končni cilj kreativne drame je nadomestiti pasivno učenje z izkustvenim. Številni razvojni psihologi zagovarjajo stališče, da je igra osrednja dejavnost za zdrav razvoj otroka. Švicarski psiholog Jean Piaget, znan predvsem po svoji teoriji kognitivnega razvoja otrok, razlikuje tri temeljne oblike: igra oziroma vaja, simbolna igra in igra s pravili. Simbolna igra se najbolj približa gledališkemu svetu, saj deluje na tako podzavestni in zavestni ravni kot tudi na simbolni, kar je značilno za gledališki mehanizem. Simbolna igra tako predstavlja prvo abstraktno dejavnost v posameznikovem razvoju. Med igro otrok ustvarja simbolne socialne situacije, s tem pa ti po lastnih pravilih predelajo dogodke iz svojih življenj, da bi bolje razumeli svoje okolje in svojo vlogo v njem.

• Language: Slovenian
• Keywords: Ključne besede: gledališka pedagogika, Draga Ahačič, kurikulum, Molière, Tartuffe
• Work type: Bachelor thesis/paper
• Typology: 2.11 - Undergraduate Thesis
• Organization: AGRFT - Academy of Theatre, Radio, Film and Television
• Publication status: Published
• Publication version: Version of Record
• Year: 2025
• PID: 20.500.12556/RUL-174164
• COBISS.SI-ID: 250988547
• Publication date in RUL: 29.09.2025

Secondary language

• Language: English
• Title: Pedagogical Theatre as an Independent Subject and a Proposal for Its Implementation in Slovenian Language Classes

Abstract

Theatre is one of those arts or fields that can be used for cross-curricular connections of almost all subjects in the school program, as the play itself represents the foundation of learning and thus enables children to learn in a comprehensive, conducive to real-life application, and more effective way. When learning through theatre, we can employ traditional theatrical forms with actors or puppets, bringing characters and objects to life and assigning them personalities. Theatre methods facilitate retention and foster autonomy of thought and critical analysis. The teacher’s role is pivotal in this process, as their guidance significantly contributes to the meaning and understanding of the subject matter. Drama as a teaching tool does not only address drama as a theatrical genre or literary text, but primarily addresses dramatic competence as an anthropological characteristic of every human being. A distinctive feature of creative drama is the use of dramatic techniques, specifically the use of methods of expression in which real or imaginary events, beings, objects, phenomena, and relationships are presented through acted roles and situations. The ultimate goal of creative drama is to transform passive reception into experiential engagement. Many developmental psychologists argue that play is the central activity for a child's healthy development. Swiss psychologist Jean Piaget, renowned for his theory of cognitive development in children, distinguishes three fundamental forms: play or practice, symbolic play, and play with rules. Symbolic play most closely parallels the realm of theatre, as it operates on both the subconscious and conscious levels, as well as the symbolic level, which is characteristic of the theatrical mechanism. Symbolic play represents the first abstract activity in an individual's development. During play, children create symbolic social situations, which allow them to process events from their lives according to their own rules, to refine their understanding of their environment and their position within it.

• Keywords: Key words: theatre pedagogy, Draga Ahačič, curriculum, Molière, Tartuffe