Contribution of children’s theater to education – last minute education news

When I was in the third grade of elementary school, I met the children’s theater. I was lucky because I was going to school in Berlin and we saw a play called ‘Stupid Stage Stupid’ with the whole class at Grips Theater, Germany’s most famous children’s theater. Honestly, it was a great opportunity to see my first play at the Grips Theater, which shaped the history of German children’s theater.

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68 Founded in 1969 by Volker Ludwig in the spirit of the movement, Grips Theater adds a different dimension to children’s theater as it develops its plays as a result of interviews with children of different ages. Until that day, the goal of children’s theater was primarily to provide children with their first theatrical experience and to advance the audience of tomorrow, that is, to provide an aesthetic foundation enabling them to relate to the applied art; At the same time, it was fun to have a good time, educate and instruct them to do the same by evaluating their own play habits.
However, Gripps Theater has staged new, realistic, social and critical children’s dramas that combine joy with learning, were elements of the cabaret and aimed at the child’s ‘liberation’. However, they have developed an ‘anti-authoritarian’ understanding of theater that considers the child’s needs, teaches without moving a finger and helps him to understand and evaluate the society and conditions in which he lives.

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Focus on problem solving
Although the ‘anti-authoritarian’ consciousness of the seventies has changed over time, the Grips Theater approach for children and youth is still a very good example for those who want to do creative and useful productions in the field of children’s theater.
Because, like Gripps, a theater company that takes its work seriously acknowledges that children also have problems and encourages them to think about solutions to their social problems by pointing out and explaining the source of social problems. Although traditional children’s theater considers children’s responsiveness, mobility, and desire to participate in play, many of them underestimate their ability to perceive and understand and isolate them from real life.
It may come as a surprise at first that Turkey has a long history of children’s theater. The greatest advancement for children’s theater, during the period of constitutional monarchy and Nihal Kuyumku, known as ‘Mektebi Representation’, took place in 1915 when the Ministry of National Education kept the theater as a lesson for educational reasons. And instructive nature. (One)

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Children’s theater must be created by conscious people
Although World War I and the War of Independence hampered the development of children’s theater, with the establishment of the republic, children’s theater began to gain importance again, especially as an educational tool. However, although children’s dramas about social events were staged in our country in the 1970s, many Turkish children’s theaters (I exclude children’s theaters that take their work seriously, such as BeReZe, far from this generalization) are far from producing such works. Children seriously, both artistically and intellectually. The most important reason for this is that many plays are staged without considering the world of children. However, in order to make children’s theater useful, it must be made by conscious and qualified people. As theater pedagogue Ulrik Henschel puts it, the theatrical experience makes it possible for children to ‘see the realities of everyday life from a different level of reality’.

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Significant contribution to talent development
Aesthetic education in art, as a variant of cultural education, is a fundamental dimension of how people, especially children, face the ‘world’ and how they adapt to it. Artistic events such as a theater rehearsal, workshops, own performances or theater visits each frame is an individual experience of creative or acceptable subject matter. The more stimulating this structure is and the more relevant the topics, stories and contexts are, the more intense their educational process can be. (2nd)

This effect is even more pronounced in theatrical works that are performed on children, which puts them on stage, or in process-based learning for children than in theaters created by adults. In this context, theater plays an important role in the development of the child’s linguistic and social development, memory, thinking and perceptual abilities, creativity and dynamic abilities, and the development of abilities such as feelings. – Confidence and decision making. However, whatever it is, either theater for children or theater with children has the potential to develop their feelings of empathy. For example, I learned from my first children’s play, ‘Stupid Remains Stupid’ at the Grips Theater and which I have never forgotten in my life: “No one should and should not be limited by the qualities of his environment. Get caught up in prejudice, especially the individual himself. ”
1) See. Nihal Kuyumku, Turkish Children’s Theater, “Children’s Culture-Literature-Theater-Media”, Mavibulut Publications, Istanbul 1997
2) See. For the work of theatrical pedagogy experts Ulrik Henschel and Klaus Mollenhauer.

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ASOC Dr. Who laughs Kalkan?
Hasibe Kalkan received his primary and secondary education in Germany. He returned to Ankara with his family in 1983 and enrolled in the department of German language and literature at the University of Hastep. After graduation, he worked for a while as a tourist guide in various parts of Turkey. He moved to Istanbul in 1991 to pursue a master’s degree, and after Marmara University, he completed a PhD in 1998 at Istanbul University, Department of Theater Criticism and Drama. He is still working as a lecturer in the department where he joined as an assistant in 1994. He has documentary theater, semiotics in theater and post-immigrant theater, essays and critiques in various journals.

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