Kako djeca opisuju svoje kazalište

professional thesis

• Title (english): How children describe their theater
• Author: Maša Rimac Jurinović
• Mentor: Nataša Govedić (mentor)
• Committee member: Iva Gruić (predsjednik povjerenstva)
• Committee member: Vladimira Velički (član povjerenstva)
• Committee member: Nataša Govedić (član povjerenstva)
• Granter: University of Zagreb; Faculty of Teacher Education; Zagreb
• Defense date and country: 2020-08-28, Croatia
• Scientific / art field, discipline and subdiscipline: INTERDISCIPLINARY AREAS OF KNOWLEDGE; Educational Sciences (Child and Educational Psychology, Sociology of Education, Political Science of Education, Economics of Education, Anthropology of Education, Neurosciences and Early Learning, Educational Disciplines)

Abstract

U radu istražujem dječje publike i njihov doživljaj kazališta koji se oslanja na teoriju recepcije. Teorija recepcije i kulturalni studiji nastoje čuti i uvažiti publike. Upravo se pojmovima publike, dječje publike i recepcije detaljnije bavim na teorijskoj razini, dok kvalitativnim istraživanjem nastojim doprinijeti praksi nudeći jedan od mogućih modela istraživanja dječje recepcije kazališnih predstava. Model uvažava dosadašnje istraživačke spoznaje te se uz opažanje i razgovor strukturiran otvorenim pitanjima
(Schonmann 2006) koristim i metodom dječjega crteža (Reason 2010). Interpretacijom podataka dobivenih kvalitativnom analizom odgovaram na središnje istraživačko pitanje (Na koji način ispitanici doživljavaju predstave namijenjene njihovom uzrastu, što najviše/najčešće do njih dopire, odnosno što nakon gledanja ostaje u sjećanju ispitanika) i specifična istraživačka pitanja: 1.) Što od predstave očekuju (horizont očekivanja) i uz koje se elemente njihova očekivanja vežu?, 2.) Postoji li estetska
distanca kod ispitanika i kako se ona očituje?, 3.) Koje kazališne konvencije djeca u dobi od 7 do 9 godina razumiju?, 4.) Koje kazališne elemente preferiraju djevojčice, a koje dječaci? i 5.) Kako se i na koji način ideja o dvostrukom djelovanju izvedbe na pojedinca i na kolektiv odnosi na ispitani uzrast? Iako se ovim istraživanjem daje glas dječjoj publici, ne zanemaruje se važnost odraslih u procesu kazališnoga opismenjavanja pa u diskusiji i zaključnim promišljanjima naglašavam potrebu te dajem
nekoliko konkretnih smjernica za lakše uključivanja dječjih publika u kreiranje kazališne politike. Ispreplitanjem teorijskih promišljanja, znanstvenoga istraživanja i praktičnih smjernica u radu nastojim doprinijeti unapređenju ovoga područja.

Abstract (english)

In this paper, I explore children’s audience and their experience of theater that relies on the reception theory. Reception theory and cultural studies seek to hear and respect audience. I deal with the notions of audience, children's audience and reception in more detail on a theoretical level while I try to contribute to practice with qualitative research by offering one of the possible models of research on children's reception of theater plays. The model takes into account previous research findings and in addition to observation, conversation structured with open-ended questions (Schonmann 2006). I
also use the method of children's drawing (Reason 2010). By interpreting the data obtained by qualitative analysis I answer the central research question (How do respondents perceive performances intended for their age, what reaches them the most/most often, i.e. what remains in the respondents' memory after watching the play) and specific research questions: 1.) What do they expect from the play? (horizon of expectations) and to which elements are their expectations related?, 2.) Do the respondents have an aesthetic distance and how does it manifest?, 3.) What theatrical conventions do children aged 7 to 9 understand?, 4.) Which theatrical elements do girls prefer and which do boys prefer? and 5.) How and in what way does the idea of the double impact of performance on the individual and on the collective relate to the examined age group?
Although this research gives a voice to children's audience, the importance of adults in the process of theater literacy is not neglected. In the discussion and concluding remarks I emphasize the need and I give some concrete guidelines for easier involvement of children's audiences in creating theater policy. By intertwining theoretical considerations, scientific research and practical guidelines in my work I try to contribute to the improvement of this area.

• Keywords: dječje publike; kazalište za djecu; recepcija
• Keywords (english): children's audience; children's theater; reception
• Language: croatian
• URN:NBN: urn:nbn:hr:147:157194
• Study programme: Title: Theatre Pedagogy; Study programme type: university; Study level: postgraduate specialist; Academic / professional title: sveučilišni/a specijalist/specijalistica dramske pedagogije (sveučilišni/a specijalist/specijalistica dramske pedagogije)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Open access
• Created on: 2023-04-17 12:24:41