{"id":1936,"date":"2025-08-26T08:39:49","date_gmt":"2025-08-26T06:39:49","guid":{"rendered":"http:\/\/dramskapedagogija.ufzg.hr\/?page_id=1936"},"modified":"2025-08-26T08:40:08","modified_gmt":"2025-08-26T06:40:08","slug":"sazetci-plenarnih-izlaganja","status":"publish","type":"page","link":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/sazetci-plenarnih-izlaganja\/","title":{"rendered":"Sa\u017eetci plenarnih izlaganja"},"content":{"rendered":"

izv. prof. dr. sc. Nata\u0161a Govedi\u0107<\/strong><\/span><\/p>\n

Nasilje didakti\u010dnosti u kazali\u0161tu za djecu: tragom<\/i><\/b> Ive Grui\u0107 i izvedbenih praksi pedagogije umjetnosti<\/i><\/b><\/span><\/p>\n

\u00a0<\/span>U svojoj seminalnoj knjizi\u00a0<\/span>Prolaz u zami\u0161ljeni svijet\u00a0<\/span><\/i>(2002), Iva Grui\u0107 raspravlja razliku izme\u0111u drame-kao-didakti\u010dkog-sredstva i drame-kao-esteti\u010dkog-doga\u0111aja u razredu. Suprotstavljaju\u0107i paradigme dramske pedagogije kako ih vide Dorothy Heathcote, a onda nasuprot tome Gavin Bolton, John O\u2019Toole i Cecily O\u2019Neill, Grui\u0107 zauzima poziciju \u201c\u0111avolje odvjetnice\u201d ili teoreti\u010darke koja nije protivnica instrumentalizaciji drame u umjetnosti, ali s opaskom da je to samo zato \u0161to se u hrvatskoj nastavnoj praksi u vrijeme objavljivanje njezine studije (sam po\u010detak 21. stolje\u0107a) didakti\u010dni pristup dramskoj izvedbi razmjerno rijetko doga\u0111a. U \u010ditavoj svojoj studiji, Grui\u0107 zastupa stajali\u0161te da procesnu dramu kontroliraju djeca, \u0161to zna\u010di da implicitno odmi\u010de procesnu dramu od didakti\u010dke \u201ckorisnosti\u201d ili nastavni\u010dke kontrole. Cilj ovog izlaganja je pokazati do koje mjere\u00a0<\/span>namjera\u00a0<\/span><\/i>didakti\u010dnosti mo\u017ee naru\u0161iti i oblikovni integritet procesne drame i njezinu izvedbu, kao i recepciju. To je posebno va\u017eno u kontekstu u kojem nastavnice i nastavnici percipiraju.\u00a0<\/span><\/p>\n

dr. sc.\u00a0Alexander Hoffelner<\/strong><\/p>\n

Improvising the Classroom: Dealing with the Unknown!\u00a0<\/i><\/b><\/span><\/p>\n

This lecture explores teaching as a form of pedagogical improvisation situated between interaction and organisation. Drawing on concepts from improvisational theatre, it argues that teaching is inherently improvisational: classroom interactions are unpredictable, requiring teachers to respond spontaneously, creatively, and responsively. Rather than being a sign of insufficient preparation, improvisation emerges as a professional competence grounded in knowledge, experience, and didactics. It enables teachers to integrate students’ perspectives, thereby fostering democratic education through openness, participation, and collaboration. At the same time, improvisation unfolds within the structural framework of schools as organisations, where formal rules and routines both constrain and enable agency. Schools thus appear as “improvising organisations” that must remain agile in the face of uncertainty while still providing stability. The lecture highlights how pedagogical improvisation can be reconceptualised as a core professional skill and how integrating it into teacher education could strengthen democratic practices and counteract tendencies of standardisation.<\/span><\/p>\n

 <\/p>\n

prof. dr. \u00a0sc. Rolf Laven<\/strong><\/span><\/p>\n

Rehearsing the Future: Art as Civic Imagination \u2013 Bridge between drama, engagement, and art<\/i><\/b><\/span><\/p>\n

This lecture weaves together the legacy of drama educator Iva Grui\u0107 with contemporary participatory art and Erasmus+-Research projects, showing how creative practice can perform civic futures. In the wake of Grui\u0107’s pioneering work in Theatre for Young Audiences and process drama, we explore collaborative art programs (e.g. in Riedersbach, Voitsberg, Strasshof, Braunau) and initiatives like SLIDE, ACIIS and SPA_LOW_SKY as living laboratories of civic imagination. We balance scholarly argument with poetic reflection: envisioning rusted steel in an abandoned power plant as silent lectures, a community forging new sculptures from mine relics, and teachers choreographing inclusive lessons. By describing these interventions in vivid detail and metaphor, art projects become democratic rehearsals \u2013 spaces where participants co-create narratives of participation and hope. Let us use art to write new scripts for education and society \u2013 inclusive, creative, and democratic.<\/span><\/p>\n

 <\/p>\n

Mojca Redjko<\/strong><\/p>\n

\u00a0<\/i><\/b>Metaphor \u2013 Perception and Development in Theatre for Young Audiences<\/b><\/span><\/p>\n

This lecture explores the evolving role of metaphor in Theatre for Young Audiences (TYA), tracing its shift from traditional, universal symbols\u2014such as friendship, nature, and family life\u2014towards more complex, fragmented, and interdisciplinary forms shaped by digital culture. Contemporary theatre metaphors are not merely decorative, but tools of cognition and emotional engagement: they address issues of identity, mental health, climate change, and social movements, while incorporating irony, hybridity, and interactive participation. Drawing on both theoretical perspectives and practical initiatives, the lecture highlights how young spectators are no longer passive receivers but active co-creators of meaning, responding to metaphors with openness, creativity, and critical awareness. It presents experiences from projects like <\/span>First Scene<\/span><\/i> and <\/span>Young Theatre<\/span><\/i>, which have combined performances, workshops, and participatory activities to foster theatre literacy, inclusivity, and democratic engagement. Ultimately, the lecture underscores how metaphor in TYA nurtures imagination, empathy, and resilience\u2014skills essential for young people navigating today\u2019s complex world.<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

izv. prof. dr. sc. Nata\u0161a Govedi\u0107 Nasilje didakti\u010dnosti u kazali\u0161tu za djecu: tragom Ive Grui\u0107 i izvedbenih praksi pedagogije umjetnosti \u00a0U svojoj seminalnoj knjizi\u00a0Prolaz u zami\u0161ljeni svijet\u00a0(2002), Iva Grui\u0107 raspravlja razliku izme\u0111u drame-kao-didakti\u010dkog-sredstva i drame-kao-esteti\u010dkog-doga\u0111aja u razredu. Suprotstavljaju\u0107i paradigme dramske pedagogije kako ih vide Dorothy Heathcote, a onda nasuprot tome Gavin Bolton, John O\u2019Toole i … <\/p>\n

Nastavi \u010ditati “Sa\u017eetci plenarnih izlaganja”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","footnotes":""},"class_list":["post-1936","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages\/1936","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/comments?post=1936"}],"version-history":[{"count":2,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages\/1936\/revisions"}],"predecessor-version":[{"id":1939,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages\/1936\/revisions\/1939"}],"wp:attachment":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/media?parent=1936"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}