Abstract pĂ„ engelskađ
This thesis explores the theatre exercise within the Swedish cultural school's theatre teaching based on a new materialist-posthumanist perspective on learning and knowing. The method used is a workshop with embodied analysis and focus discussions. Using this method, what happens in/during the theatre exercise and what it offers to students and teachers are explored. The results show that in an activated theatre exercise, participants, leader, the room, the framework and rules of the exercise, the sensory field and the learning goal, intra-act in creating a ritual space of embodied knowledge that students can experience immersively. This can lead to learning, although it does not automatically do so. Certain factors that work against learning are identified, such as the exercise being too easy or too difficult or the student not understanding the purpose of it. When learning takes place, it is described as immersive self-learning where, through participation in the ritual space of the exercise, the student steps into, is surrounded by, and becomes a participant in, embodied knowledge. Here, the student gets the opportunity for self-learning, via support to make agentic cuts to discern learning goals, intra-act in/with what they discerned to explore it, and eventually master the learning goal and own it, i.e. turn it into a skill that they can manage independently.
This means that an exercise has a life cycle; first the student needs to master the exercise itself, i.e. its idea, framework and purpose. Then they can use the exercise to discern, explore and master their acting skills. When the exercise becomes too easy, it either needs to be adapted, transformed or abandoned for a more difficult exercise. The exercise is mediated by a teacher/leader in a sensory field; which the study refers to as immersive teaching. The teacher intra-acts within the exercise as a mediator in, and between, the different bodies that constitute the activated exercise; participants, the theoretical exercise, the learning goal, the different rooms, the sensory field, the past in the form of past experiences and the future in the form of goals for the exercise and learning.
Based on these results, the study then considers the function of theatre exercises in teaching in the Swedish cultural school, on the relationship between learning, knowledge and theatre practice, and on how theatre practice can contribute to the development of professional language about theatre knowledge and theatre teaching. The teacher's relationship to the exercise is proposed to be transformed from 'hoarder' to âcurator', i.e. to carefully select and combine the exercises that are used based on knowledge of the students' needs, the knowledge embodied in the exercises and the origin and purpose of the exercise. The new materialist-posthumanist perspective together with workshop with embodied analysis and focus conversation can provide opportunities to distinguish and describe learning and know-how in the actor's craft. Therefore, such workshops that explore theatre practice, could be tools in expanding and deepening the professional language of theatre teachers.
Keywords: theatre teaching, Swedish cultural school, acting training, theatre exercise, theatre teachersâ professional language
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đ Teaterövningen - en âsvart lĂ„daâ i kulturskolans teaterundervisning