Legekultur - tur/retur: råstof, formler og improvisation i dramapædagogikken?

Publikation: Ph.d. afhandling/ kandidat/ diplomMasterForskning

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Inspired by research on children’s play culture I look for a way to renew the pedagogic of applied drama. In his theoretical framework Flemming Mouritsen (1996, 1999, 2003) specifies the elements of children’s pretend play by three terms: raw material, formula and improvisation. I ask if it is appropriate to apply these terms on a pedagogic of applied drama.
Pretend play is, so to speak: children improvising, using formula to transform various types of raw material. The keywords point towards play culture. Expanding Mouritsen I deal with the research of R. Keith Sawyer (i.e. 1997; 2003; 2006; 2007) on improvisation. Improvisation also points in other directions than play culture, every day life, leadership, innovation etc.
Comparing players with the craftsmen enjoying craftsmanship in its own right, I suggest an elaboration of the know-how of playing defined as handcraft (Richard Sennett, 2007), and emphasizing the importance of formula, applied drama should be looked upon as craftsmanship (Ross).
In the intersection of Mouritsen & Sawyer I analyze video from 4 contexts:
A. Leisure time drama with young girls
B. Pupils rehearsing before their last school day
C. Pupils working with Shakespeare’s Romeo & Juliet
D. UMD: 12 students training to become social workers working in the subject called UMD [Expression, Music & Drama]
In play culture and applied drama the social contract and the fictional contract vary. In A+C I experience youngsters playing outside, alongside and on the edge of the formal pedagogical situation of applied drama. These examples challenge a pedagogic of applied drama in several ways. In pretend play players change positions, in drama they are supposed to stick to the role. How can applied drama cope with these challenges?
In UMD I find students working seriously to frame the process, to frame improvisations and to respond to the play participants and what emerges during improvisations.
Compared with play culture where the play frame fluctuates during play, the topics of applied drama play an increasing role in the UMD examples; and not opening up for new raw material to be transformed. Especially I find that neglecting the role of formula may undermine the foundation of applied drama, threatening it to diminish into a study circle.
To cope with these challenges in UMD I think that improvisational training can help pedagogues exchange ideas and meaning with participants. Focusing on emergence may be helpful in responding to improvisations. I conclude that there are several tracks to be followed, also tracks that I didn’t discuss in this thesis, in the path of grounding a pedagogic of applied drama inspired by children’s play culture.
StatusUdgivet - 2011