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Tuesday, 8 October 2013
If I had had the time to attend a pre-congress workshop this is the one that I would have chosen. I have read many of András Pető’s own plays and some of Moreno’s too, and while reading I could always imagine Pető and Moreno working together and could always envisage Pető’s steps towards introducing group work and theatre into Conductive Education. It is so nice to see this being discussed at the World Congress.
Maybe someone who attends will take the time to comment here.
Theatre pedagogy in Conductive Education
Theaterpädagogik in der konduktiven Förderung
A. M. Pinter,
Z. Hadházi, A. Derekas
Johan Nepomuk von Kurz-Stiftung, Munich, Germany
András Pető, founder of the System of Conductive Education had realised the importance of playing and acting already from the beginning of his medical studies. Together with his friend J. L. Moreno, who later developed the concept of psychodrama they had played with groups of children in the Theatre of Improvisation in the gardens of Vienna. Later the concept of working in groups was based on and grew out of these experiences.
The Conductive Theatre helps the person to experience and project empathy, fantasy and creativity. It provides ground for conscious action, apperception, self-awareness and perception of the environment.
In the Conductive Theatre the child follows his own path to achieve the goal he sets for himself, along which he enters into an educational process where the improvement of his motor skills also takes place.
During this workshop conductors from different institutes show how theatre pedagogy and conductive education could work together. The participants gain thorough insight into practical work and the ‘know-how’ to organise theatre plays with physically challenged/disabled children.—
What is the difference between ‘classic theatre pedagogy’ and a ‘conductive theatre play’?—
What will be improved through the Conductive Theatre?
Posted by Susie Mallett at 01:47
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Interesting. Perhaps you can write to the presenters and ask for a written copy. Some of the presentations are being audio-recorded and perhaps this will be one of them.
Interesting questions in their own right, not least in how performing theatrical plays is stated here in classical pedagogical terms of social role play at a particular stage of child development. Is there really a specifically 'conductive theatre play'?
Also interesting is the question of how far the post-WWII conductive group was an instrumental creation to deal with growing numbers of clients, as recounted by Júlia Dévai describes, or a harking back to pre-WWI days of the youthful activities in Vienna that Marineau described in his biography of Moreno.
Mustn't be teleological.
I shall certainly be taking steps to get myself an account of what is said in that session.
Must get going now. I'm off to Munich.
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