Ungdomsteater och personlig utveckling : En pedagogisk analys av ungdomars teaterskapande
(1996)- Abstract
- The objective of this research project is to investigate in what way young people's theatre playing, according to their own experiences, constitute a collective educational process. Also, the project aims at understanding the interaction between the different actors, and particularly between the young amateurs and their leaders. Young people's acting in this research project is understood from a phenomenological perspective. I seek the participants shared experiences in the Lebenswelt within which they act and create drama. In order to focus the different aspects of my research objectives several research methods, from different scientific fields, such as ethnography, contextual analysis and phenomenology, have been used and... (More)
- The objective of this research project is to investigate in what way young people's theatre playing, according to their own experiences, constitute a collective educational process. Also, the project aims at understanding the interaction between the different actors, and particularly between the young amateurs and their leaders. Young people's acting in this research project is understood from a phenomenological perspective. I seek the participants shared experiences in the Lebenswelt within which they act and create drama. In order to focus the different aspects of my research objectives several research methods, from different scientific fields, such as ethnography, contextual analysis and phenomenology, have been used and combined.
Three groups of young people, in all 29 actors, and their leaders are part of this investigation. Their work has been followed for a period of one year. Data were gathered primarily by participant observation and semistructured interviews. There are differences between the groups in their way of making theatre and also between the level of activity and engagement among the youngsters. There is a strong sense of commitment amongst the leaders of the three groups, showing that they believe in the young actors and their ability to achieve by hard work and effort. The leaders manage to make their actors aware of their potential to develope, to become "whole persons" and to promote an inner self-confidence. Despite the different working conditions in the groups the young actors experience theatre in a similar way. The young actors' experiences, according to their own statements, are in the following summarised in five content categories.
The first category is namned The self-confidence grows stronger. The sense of trust developed in the group encourages the youngsters to stretch their abilities even further. The second category The sense of freedom increases, concerns with the role-taking. With the help of imagination and fantasy they travel into an Adventure, far away from the demands and pressures of everyday-life. The third category is The identity is strengthened. A performance is always the sum of each member1s individual contribution. The individual members are fused together into a team, where the rules and values in the group are shared between the youngsters, and their understanding of relating to others in the group develops. Communicative competence is increased, is the name of the fourth category. Communication skills are trained by using language, signs and symbols. The ability to communicate verbally, also in other contexts outside the theatre, is advantageous. Empathy is developed is the name of the fifth category. Theatre means to relate to others. In this world of make-believe and strange and wonderous situations, the young amateurs are affected by their new insight and develope a democratic understanding. Social comprehension is extended. (Less) - Abstract (Swedish)
- Popular Abstract
Syftet med avhandlingen är att undersöka på vilket sätt teater med ungdomar, enligt ungdomarnas egna erfarenheter och utsagor om det, utgör en kollektiv bildningsprocess. I avhandlingens syfte ingår att analysera hur en teaterföreställning växer fram och att skapa förståelse för vad som sker mellan olika aktörer, främst mellan ungdomar och ledare.
Forskningsfenomenet, unga människors teaterskapande, betraktas i denna undersökning utifrån en allmän fenomenologisk utgångspunkt. Jag söker ungdomarnas gemensamma upplevelser i den livsvärld inom vilken de skapar teater. För att kunna belysa syftets olika aspekter kombineras i denna undersökning metoder hämtade från olika vetenskapliga traditioner såsom... (More) - Popular Abstract
Syftet med avhandlingen är att undersöka på vilket sätt teater med ungdomar, enligt ungdomarnas egna erfarenheter och utsagor om det, utgör en kollektiv bildningsprocess. I avhandlingens syfte ingår att analysera hur en teaterföreställning växer fram och att skapa förståelse för vad som sker mellan olika aktörer, främst mellan ungdomar och ledare.
Forskningsfenomenet, unga människors teaterskapande, betraktas i denna undersökning utifrån en allmän fenomenologisk utgångspunkt. Jag söker ungdomarnas gemensamma upplevelser i den livsvärld inom vilken de skapar teater. För att kunna belysa syftets olika aspekter kombineras i denna undersökning metoder hämtade från olika vetenskapliga traditioner såsom kontextuell analys, etnografi och fenomenologi. I undersökningen ingår tre ungdomsgrupper och deras ledare. Den huvudsakliga datamängden har samlats in genom observationer i kombination med samtal och guidade intervjuer.
Den mest framträdande enskilda faktorn som berör hela teaterarbetet är ledarnas egenskaper och stil. Samtliga tre ledare har rik erfarenhet inom sina yrken och har gott självförtroende. Det finns olikheter mellan grupperna, både avseende innehåll och arbetsformer, vilka är avhängiga egenskaper i ungdomsgrupperna. Ledarna väljer helt enkelt strategi i samstämmighet med de aktörer med vilka de skapar teater.
Ungdomarnas erfarenheter av teaterarbetet är trots skillnader i arbetsprocessen likartade till sin karaktär. Utfallet redovisas i fem kvalitativt skilda kategorier. Den första kategorin benämns "Självförtroendet blir större" och handlar om att ungdomarna upplever att det accepterande klimatet i grupperna utvecklar dem till trygga individer, som gör att de vågar tänja sin förmåga. Kategorin "Frihetskänslan växer" har framför allt med rollgestaltningen att göra. I rollen möter ungdomarna nya miljöer och med fantasins hjälp befinner de sig för en stund långt från vardagliga bestyr. Den tredje kategorin, "Identiteten förstärks" beskriver arbetets kollektiva karaktär. Ungdomarna ger varandra stöd och kritik eftersom produkten är gemensam. Den intensiva interaktionsprocessen utvecklar gemensamma värderingar och normer. "Den kommunikativa kompetensen" är beteckningen på den fjärde kategorin. Kommunikation sker genom språk, tecken och symboler. Förmågan att uppträda spontant tränas liksom språket, både det talade och skrivna. Den femte kategorin slutligen, benämns "Empati utvecklas". Med den rikedom det innebär att genom rollfigurerna erfara annorlunda skeenden, även om de är fiktiva, berörs ungdomarna av den nya upplevelsen. De vidgar sitt perspektiv på omvärlden och ökar sin förståelse för människors olika levnadsvillkor. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/17779
- author
- Chaib, Christina
- supervisor
- opponent
-
- Docent Sundgren, Gunnar, Linköping University
- alternative title
- Amateur Theatre and Personal Development : A pedagogical Analysis of Young Actors making Theatre
- publishing date
- 1996
- type
- Thesis
- publication status
- published
- subject
- keywords
- creativity, Amateur theatre with young people, aesthetic, qualitative research methods, educational activity, Pedagogy and didactics, Pedagogik, didaktik
- pages
- 282 pages
- publisher
- Christina Chaib, Högskolan i Jönköping, HLK, Box 1026, 55111 Jönköping,
- defense location
- Carolinasalen, Lundagård, Lund
- defense date
- 1996-11-29 13:00:00
- external identifiers
-
- other:ISRN: LUSADG/SAPE -- 96/1033--SE
- ISBN
- 91-628-2223-3
- language
- Swedish
- LU publication?
- no
- id
- e776848e-938c-48ac-8ee6-8877f5147060 (old id 17779)
- date added to LUP
- 2016-04-04 12:17:49
- date last changed
- 2019-09-23 09:50:57
@phdthesis{e776848e-938c-48ac-8ee6-8877f5147060,
abstract = {{The objective of this research project is to investigate in what way young people's theatre playing, according to their own experiences, constitute a collective educational process. Also, the project aims at understanding the interaction between the different actors, and particularly between the young amateurs and their leaders. Young people's acting in this research project is understood from a phenomenological perspective. I seek the participants shared experiences in the Lebenswelt within which they act and create drama. In order to focus the different aspects of my research objectives several research methods, from different scientific fields, such as ethnography, contextual analysis and phenomenology, have been used and combined.<br/><br>
<br/><br>
Three groups of young people, in all 29 actors, and their leaders are part of this investigation. Their work has been followed for a period of one year. Data were gathered primarily by participant observation and semistructured interviews. There are differences between the groups in their way of making theatre and also between the level of activity and engagement among the youngsters. There is a strong sense of commitment amongst the leaders of the three groups, showing that they believe in the young actors and their ability to achieve by hard work and effort. The leaders manage to make their actors aware of their potential to develope, to become "whole persons" and to promote an inner self-confidence. Despite the different working conditions in the groups the young actors experience theatre in a similar way. The young actors' experiences, according to their own statements, are in the following summarised in five content categories.<br/><br>
<br/><br>
The first category is namned The self-confidence grows stronger. The sense of trust developed in the group encourages the youngsters to stretch their abilities even further. The second category The sense of freedom increases, concerns with the role-taking. With the help of imagination and fantasy they travel into an Adventure, far away from the demands and pressures of everyday-life. The third category is The identity is strengthened. A performance is always the sum of each member1s individual contribution. The individual members are fused together into a team, where the rules and values in the group are shared between the youngsters, and their understanding of relating to others in the group develops. Communicative competence is increased, is the name of the fourth category. Communication skills are trained by using language, signs and symbols. The ability to communicate verbally, also in other contexts outside the theatre, is advantageous. Empathy is developed is the name of the fifth category. Theatre means to relate to others. In this world of make-believe and strange and wonderous situations, the young amateurs are affected by their new insight and develope a democratic understanding. Social comprehension is extended.}},
author = {{Chaib, Christina}},
isbn = {{91-628-2223-3}},
keywords = {{creativity; Amateur theatre with young people; aesthetic; qualitative research methods; educational activity; Pedagogy and didactics; Pedagogik; didaktik}},
language = {{swe}},
publisher = {{Christina Chaib, Högskolan i Jönköping, HLK, Box 1026, 55111 Jönköping,}},
title = {{Ungdomsteater och personlig utveckling : En pedagogisk analys av ungdomars teaterskapande}},
year = {{1996}},
}