Драмска педагогија - драмска уметност у интегрисаом образовању

Abstract

Dramska pedagogija je oblast koja je nastala onog trenutka kada se dramski proces odvojio od pozorišne produkcije i bio shvaćen kao način za postizanje razvojnih ciljeva. Uzroci za takvu promenu perspektive krajem 19. veka bili su vezani za proces industrijalizacije; ali su razlozi ustanovljeni mnogo ranije, sa prvim demokratskim društvom u Atini u 5. veku st. e., kada je paideia – obrazovanje zasnovano na umetnosti, filozofiji i religiji, nastalo kao način za odgajanje političke snage društva. Obrazovanje je očuvalo humanistički karakter i zadržalo političku svrhu do današnjih dana, ali je dugo bilo privilegija povlašćenih klasa; do postepene de-elitizacije obrazovanja došlo je u prosvetiteljstvu koje je nadahnulo pokrete za širenje obrazovanja, koji su doveli do rađanja pedagogije, razvoja filozofije obrazovanja i stvaranja modernih obrazovnih koncepata. Progresivno obrazovanje, kao kapitalan koncept, dalo je utemeljenje za rađanje dramske pedagogije. U svom razvoju, dramska pedagogija je prošla kroz četiri glavne faze: Kreativnu dramu, Dramu u obrazovanju, Pozorište u obrazovanju i Primenjeno pozorište. Ono što je zajedničko svim navedenim konceptima je namera da se ostvari lična i društvena promena. U školi, Drama je kao predmet dugo bila prisutna u razvijenim zapadnim društvima i brzo je počela da se širi u svetu. Sa promenom obrazovne paradigme koja je nastupila krajem 20. veka, kada je funkcionalistička filozofija potisnula humanističku, Drama je isključena iz kurikuluma u mnogim zemljama. U pitanje je doveden njen naučni status kao osnov za nastavnu predmetnu oblast i, uopšte, doprinos koji dramska edukacija, u brojnim oblicima, daje školi i društvu. U ovom radu, mi ispitujemo ove kritika kroz nekoliko postupaka. Prvi je analiza dramske pedagogije kao naučnog polja i naučne discipline, prema kriterijumima „normalne“ – empirijsko-analitičke nauke. Drugi je sagledavanje dramske pedagogije kao kros-discipline koja se upravlja prema načelima „postnormalne“ nauke. Treći je analiza dramske pedagogije kao školske prakse, u tri koraka: u odnosu na tradicionalnu pedagošku i didaktičku paradigmu, naprednu razvojnu pedagošku i didaktičku paradigmu i, najzad, integrisanu pedagošku i didaktičku paradigmu koja čini horizont ka kom savremeno obrazovanje i vaspitanje stremi. Četvrti postupak je nastojanje da, prateći pojmovni okvir pedagoške nauke, sistematizujemo dramske pedagoške oblike koji su zastupljeni u obrazovanju i time pokažemo korist koju škola ima od dramskog pedagoškog rada. U analizi dramske pedagogije kao naučnog polja i naučne discipline utvrdili smo da je ona razvijena kao naučno polje, a da je, kao naučna disciplina, u procesu konstituisanja, mada sasvim 11 dovoljno razvijena da bi bila funkcionalna kao nauka. Takođe smo utvrdili da postoje pokazatelji ontološke posebnosti dramske pedagogije koji upućuju na analizu njene disciplinarne prirode. Ispitivanjem dramske pedagogije kao kros-disciplinarne oblasti utvrdili smo da ona jeste autonomna kros-disciplina koja ima oblike u svim vidovima kros-disciplinarnosti: multi-, inter- i transdisciplinarnosti, te da su svi ovi oblici samostalni, uspostavljeni i da se dalje razvijaju. Takođe smo utvrdili da u njen kros-disciplinarni sastav ulaze dramska umetnost, pedagoška nauka i ’svet života’ – pojava ne-nauke i ne-umetnosti, odnosno njihov najčešći predmet, kao supstantiviran oblik koji zahteva ispunjenje svojih potreba od nauke, pa i od umetnosti. S osvrtom na promenu kulturne paradigme iz moderne u postmodernu, a potom post-postmodernu, pokazali smo transformaciju pojmova kulture, nauke i obrazovanja, kao i nova očekivanja od njih u ’svetu života’ koja svoj izraz nalaze u transdisciplinarnom konceptu. Izdvojili smo dramske pedagoške oblike koji imaju transdisciplinarni sastav (npr. kreativna drama) i obrazložili smo njihov epistemološki ciklus, tumačeći ga pojmovnim aparatom transdisciplinarne nauke. Time smo pokazali da je dramska pedagogija moderna praksa koja može da se uhvati u koštac sa savremenim problemima u školi i izvan nje. Kroz analizu dramske pedagogije kao školske prakse, utvrdili smo da ona podržava ciljeve i sprovođenje sva tri modela kurikuluma, a da daje ključni doprinos ostvarenju integrisanog kurikuluma i obrazovnog koncepta koji najveći akcenat stavljaju na razvoj kulture i građanstva i time na paideičku svrhu obrazovanja. U sistematizaciji dramskih pedagoških oblika primenom pojmovnog okvira pedagoške nauke, uspeli smo stvorimo okvir u kom svi oblici koji su prisutni u školi nalaze svoje logično i funkcionalno mesto – bilo pod dramskim i pozorišnim obrazovanjem ili pod poljem vaspitanja, kao metod ili kao medij učenja. Razmatranjem pitanja obrazovanja dramskih pedagoga koji bi kompetentno vodili dramski rad u školi i širem društvenom kontekstu, zaključili smo ovaj rad.

The field of Drama Pedagogy emerged when the dramatic process separated from theatre production and was perceived as means for attaining developmental ends. Such a shift of perspective at the end of the 19th century was caused by the process of industrialization; however, reasons were established much earlier, with the first democratic society in Athens in the 5th century BC, when paideia – education based on the arts, philosophy and religion, was instituted as a method of breeding political forces of the society. Education maintained its humanistic character and political purpose until today, but has long been a privilege of the advantaged classes alone; gradual de-elitization of education started only with the Enlightenment which inspired education spreading movements leading to birth of pedagogy, development of philosophy of education and creation of modern educational concepts. Progressive education, as a major concept, provided basis for the appearance of Drama Pedagogy. In its development, Drama Pedagogy went through four capital phases: Creative Drama; Drama in Education; Theatre in Education and Applied Theatre. The common feature of all four concepts is the intention of stimulating individual and social change. In developed Western societies, Drama was present in schools for many years, spreading fast into the world. With the change of educationa paradigm at the end of the 20th century, when functionalist philosophy prevailed over the humanistic, Drama was excluded from the curricula in many countries. Scientific status of Drama, which was needed for its position as a school subject, was harshly questioned and so was the contribution of Drama to school and the society. In this thesis, we investigate those criticisms through several procedures. The first one is analysis of Drama Pedagogy as a scientific field and a scientific discipline, as per the criteria of “normal” – empirical-analitical science. The second one is examination of Drama Pedagogy as a cross-discipline which obeys the rules of “postnormal” science. The third one is analysis of Drama Pedagogy as a school practice, to be achieved in three steps: in comparison to the traditional pedagogic/didactic paradigm, the advanced developmental paradigm and the integrated paradigm as a horizon for which contemporary education is striving. The fourth procedure is an attempt to systematize Drama Pedagogy methods in education, by following the pedagogic categorical framework, striving to demonstrate thus the benefits of Drama Pedagogy for the school. In the analysis of Drama Pedagogy as a scientific field and a scientific discipline, we found that it is developed as a field, while it is still in the process of constitution as a discipline, although 13 quite sufficiently developed to be functional as a science. We also found indicators of ontological specificity of Drama Pedagogy, asking for further analysis of its disciplinary nature. In the analysis of Drama Pedagogy as a cross-discipline, we found that it is an autonomous cross-discipline with specific forms developed in all cross-disciplinary aspects: multi-, inter- and transdisciplinarity; all those forms are autonomous, established and developing. We also found that there are three elements constituting the Drama Pedagogy cross-discipline: Drama as art, Pedagogy as science and the ‘Lifeworld’ as a phenomenon of non-science and non-art, i.e. their most common subject, a substantiated form demanding from scence and art to fulfil its needs. Considering the change of cultural paradigm from the modern into the postmodern and then even the post-postmodern, we demonstrated the transformation which the notions of culture, science and education have undergone, facing new expectations in the ‘Lifeworld’, expressed in the transdisciplinary concept. We hence selected Drama Pedagogy methods of thansdisciplinary composition (e.g. Creative Drama) and explained their epistemological cycle through categorial apparatus of transdisciplinary science, demonstrating thus that Drama Pedagogy is a modern practice capable of coping with contemporary problems in the school and beyond. Through the analysis of Drama Pedagogy as a school practice, we found that it supports the objectives and implementation of all three curricular models, while contributing substantialy to the integrated curriculum and educational concepts which emphasise cultural and civic develoment and the paideic purpose of education. In the systematization of Drama Pedagogy methods through the pedagogical categorial system, we succeeded in creting a framework in which all forms present in school find their logical and functional place – either under drama and theatre education or upbringing, as a learning method or a learning medium. Finally, by examening the issue of academic education of future drama pedagogues, needed for their competent work in school and society, we concluded this thesis. Key words: