Performative encounters with the TIE programme #nofilter: A study based on Finnish teenagers’ written thoughts

IF 0.2 0 THEATER
Nina Dahl-Tallgren
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引用次数: 0

Abstract

This study explores Finnish teenage students’ performative encounters with a performance, a theatre in education (TIE) programme called #nofilter, concerning young people and social media. The structure of the study regarding the TIE programme is based on educational design research with iterative cycles of inquiry. Thinking with theory is used as a methodology based on Barad’s agential realism guided by the analytical question: what diffractive learning events were co-created in the TIE programme #nofilter in the intra-action with the students? The agency produced can theoretically be understood as performative learning based on the materiality of the performance, including affective and performative encounters of the students’ intra-action with the theme of the TIE programme concerning social media on the internet with an entanglement of matter and meaning. The students recognized that they need to be aware of how to handle affects and situations that could appear in the intra-actions with social media to produce knowledge and perspective in their learning events.
TIE项目的表演遭遇#nofilter:一项基于芬兰青少年书面想法的研究
这项研究探讨了芬兰青少年学生在表演中的遭遇,这是一项名为#nofilter的教育戏剧(TIE)节目,涉及年轻人和社交媒体。关于TIE计划的研究结构是基于教育设计研究和迭代的研究周期。理论思维被用作一种基于Barad的代理现实主义的方法论,该方法论以分析问题为指导:在TIE计划中,哪些衍射学习事件被共同创建#在与学生的行动中进行过滤?理论上,所产生的代理可以被理解为基于表现物质性的表演性学习,包括学生与TIE课程主题的内在行动的情感和表演性遭遇,该课程涉及互联网上的社交媒体,涉及物质和意义的纠缠。学生们认识到,他们需要意识到如何处理社交媒体内部行动中可能出现的影响和情况,以便在学习事件中产生知识和观点。
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来源期刊
CiteScore
0.70
自引率
50.00%
发文量
6
期刊介绍: Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.
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