(Re)creative Triangle Proposal of a Convergent Theatrical Perspective of Drama Teaching

Abstract

The references and models that operate in our educational system, in what concerns theatre as a subject, such as the existent theatrical practices and their subsequent understanding of what making theatre by young students is, particularly from the secondary and university education, are extremely limited to conditions such as the search for personal satisfaction or mere entertainment, the revelation of talent or even the ascent to fame.
In parallel, one comes across an eclectic system of theatre teaching in which the emphasis is given to the existence of very broad educational goals, which, consecutively, become validations to an ineffective and exploratory pedagogy. Subsequently, in many situations, one cannot develop a more organic, rigorous and methodical self-learning of action in theatre as the basis for all artistic creation, making it therefore more authentic and committed.
One aims thus to suggest a (re)creative triangle of a convergent theatrical perspetive based on three European theatre authors from the 19th and 20th centuries: Stanislavski, Grotowski and Peter Brook, in which the aesthetical and ethical
principles are seen not as recipes to apply in the school context, but as acting possibilities, where the categories of availability,
of focus and of collective are complementary in the organically based theatrical creation, which is contrary to the imitative
models of the art of acting and is in accordance with a plain conception of theatre.