Međugeneracijsko pozorište zajednice kao osnova za učenje vizuelnim metodama

Abstract

U ovom radu se bavimo pitanjem odnosa primenjenog pozorišta i vizuelnih metoda u učenju odraslih. Istraživanje je nastalo u procesu kreiranja pozorišne predstave teatra zajednice sa idejom međugeneracijske razmene, saradnje i učenja. Poseban fokus imali smo na osnaživanje zajednice kroz refleksiju na lična sećanja, čineći ih kolektivnim, putem učenja utemeljenim na umetničkim metodama. U finalnom delu tokom prezentacije procesa (izvođenja predstave), u radu sa publikom uvedene su vizuelne metode rada u cilju interakcije sa publikom i to putem likovnog izraza kao sredstvom i načinom produbljivanja učenja i približavanja procesa široj zajednici. Podaci za analizu prikupljani su dubinskim ekspertskim intervjuom. Intervjuisane su voditeljke i kreatorke procesa, kao i troje praktičara obrazovanja odraslih, od kojih je jedan andragog, a dve studentkinje andragogije, koji su vodili aktivnosti osmišljene za rad sa publikom. U ovom istraživanju tragali smo za odgovorom na koji način su lične priče učesnika i učesnica dramskog procesa doprinele kreiranju interaktivnih vizuelnih metoda kojima je publika bila pozvana da dodatno promisli o sadržaju predstave i dobijenim iskustvima. Inkorporiranjem vizuelnih metoda u dramski izraz i proces promovišu se vrednosti kreativnosti u procesu učenja, kreativni potencijali i delovanje na osnovu kreativnih mogućnosti. Na taj način su učesnici procesa i publika imali mogućnost da osveste da je učenje celoživotni proces koji se temelji na svakodnevnom kontaktu sa ličnim istorijama. Uvođenje, praktikovanje i kombinovanje različitih umetničkih praksi doprineli su međusobnom razumevanju, dijalogu i participaciji u zajednici.

This paper focuses on the relationship between applied theatre and visual methods in adult learning. The research was conducted within the process of creating a community theatre performance, based on the concept of intergenerational exchange, cooperation and learning. We put a particular emphasis on strengthening the community through reflection on personal memories, turning them into collective ones, by means of learning based on scientific methods. During the presentation of the process (staging of the performance), in the final part involving audience participation, visual working methods were introduced in order to interact with the audience through visual expression as a means and method of deepening the learning process and clarifying this process for the wider community. Data were collected by an indepth interview. The hosts and creators of the process were interviewed, as well as three adult education practitioners (an adult education specialist and two students of andragogy), who were in charge of the activities involving the audience. In this research we sought to answer the question how the personal histories of the participants in the dramatic process contributed to creating interactive visual methods through which the audience was invited to additionally reflect on the contents of the performance and the experience gained. The incorporation of visual methods into dramatic expression and the dramatic process, underlined the value of creativity in the learning process, creative potentials and action based on creative abilities. Thus, the participants in the process and the audience were able to realise that learning was a lifelong process based on everyday contact with personal histories. The introduction, implementation and combination of different artistic practices contributed to mutual understanding, dialogue and participation in the community.