Educational drama in Norway: From cultural expression to curriculum element

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2022-12-01 DOI:10.1386/atr_00068_1

Stig A. Eriksson, Tor-Helge Allern

引用次数: 0

Abstract

The article is conceived as a survey exploration of significant historic developmental stages of the Norwegian educational drama field. The article first engages in an historical consideration of educational dramatics from traces of performed education in old Norse culture, via school drama organized by the church in the Middle Ages, to a decline of drama and theatre after Pietism in the eighteenth century, with a succeeding narrower view of knowledge and teaching in the following century and scarce information about drama as education. The focus then turns to deliberation of educational reforms in the twentieth and twenty-first centuries, offering new possibilities for drama pedagogy through the Progressive Education movement, followed by identifying the position of drama in the six national curriculum reforms from 1939 to 2020 and the changing role of the subject area resulting from policy accentuations underlying curriculum revisions.

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挪威教育戏剧:从文化表达到课程元素

本文旨在对挪威教育戏剧领域的重要历史发展阶段进行一次调查性探索。本文首先对教育戏剧进行了历史考察，从古代挪威文化中的表演教育痕迹，通过中世纪教会组织的学校戏剧，到18世纪Pietrism之后戏剧和戏剧的衰落，在接下来的一个世纪里，人们对知识和教学的看法越来越狭隘，关于戏剧作为教育的信息越来越少。然后，焦点转向对二十世纪和二十一世纪教育改革的思考，通过进步教育运动为戏剧教育提供了新的可能性，随后确定了戏剧在1939-2020年六次国家课程改革中的地位，以及课程修订背后的政策重音导致学科领域角色的变化。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

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.