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?
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| Norwich city-centre was the stage for a gorilla hunt this summer! |
1 comment:
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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