Stanislavskij-variationer : skådespelarövningar som didaktiska instrument i pedagogiskt drama
Sammanfattning: The aim of this study is to investigate the influence of Stanislavski's method for actors training on four methods in drama in education and how the founders adapted fields of training and transformed exercises according to their educative purposes.The basis for this comparative analysis is the content of the first part, "the actors work with himself", in Stanislavski's proposal for a four year professional training. The compared educational drama methods are Viola Spolin's (Improvisation for the Theatre), John Hodgson & Ernest Richard's (Improvisation), Brian Way's (Development through Drama) and the Swedish drama teacher Dan Lipschftz' (Samspel i grupp) method.Fourteen phenomena in the Stanislavski-method are defined and then tracked in the four method-describings by the use of basic didactical questions. Most of the phenomena are training of the actor's elementary skills, e g. imagination, concentration, relaxation, evoking emotions, contact, plasticity of motion and speech. The exercises are compared with those in the source method.The principal findings are, that in the educational drama methods a dominant part of the skills trained are similar and a great part of exercises are similar or variations of the original russian ones. Drama teachers also strive mostly for the same aesthetic qualities in acting as Stanislavski. The difference appears in those diverse pedagogical objectives and in a number of significant pedagogical consideratory measures the drama teachers take, e. g. the demands on aesthetic quality is indirect, the demands for achievement are addressed to the group, the exercises are formed for groups, complicated exercises are divided into simpler entities, technical exercises are framed in dramatic fictions.
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