#iLive konturer af en performativ dramadidaktik i en digital samtid

Abstract

Sammendrag

Hensigten med denne ph.d.-afhandling er at undersøge, hvordan det performative og digitale samfund kan revitalisere dramadidaktik. I afhandlingen bringer jeg de sociale medier og deres komplekse kommunikative strategier med ind i en drama/teaterfaglig kontekst og undersøger, hvordan de kan anvendes til at videreudvikle drama/teaterfagdidaktik. En del af ph.d.-projektet har således også været at udvikle og gennemføre et dramadidaktisk undervisningsforløb for gymnasieelever (#iLive).

Afhandlingen er artikelbaseret og består af fire artikler samt en sammenfattende kappe. Den overordnede studie er forankret i et performativt, praksisledet forskningsparadigme, og det empiriske materiale består blandt andet af videooptagelser af #iLive og egen udviklingspraksis, deltagerlog samt et kort spørgeskema. De sociale medier er ligeledes blevet brugt som en måde at dokumentere og udvikle min egen forskningspraksis på i løbet af hele perioden. I studien peger jeg på flere områder, hvor en moderne dramapædagogisk didaktik udfordres i mødet med de sociale medier. Dette sker blandt andet i forbindelse med at anvende dramatisk fiktion og dramaturgi i didaktisk kontekst. Men også i relation til at praktisere dramadidaktik inden for et klassisk aristotelisk kunstsyn. Gennem studien foreslår jeg, som svar på disse udfordringer, konturerne af en performativ dramadidaktik. En didaktik, som i dialog med Jacques Rancières æstetiske regime (2000/2012), opererer med et fiktionsbegreb og en dramaturgi, som varetager kompleksiteten, som er forbundet med meningsskabende processer på de sociale medier.

Ethvert forsøg på at revitalisere eller forny faglige perspektiver indebærer at ryste allerede etablerede forestillinger om, hvad dramaundervisning er. Dette indebærer en form for kritik rettet mod drama/teaterfaget selv. Jeg mener, at kritiske refleksioner kan føre til en mere nuanceret faglig både-og-holdning. En sådan holdning indebærer en vilje til at ville vende fokus hen mod potentielle områder for faglig udvikling. I mit ph.d.-projekt har det performative og digitale samfund været et sådant område.

This Ph.D. thesis set out to explore how the performative and digital society can revitalise drama in education. Here, I try to adapt social media and its complex communicative strategies to ways of teaching and learning drama as well as to explore how such media can stimulate to a renewal of drama in education. Therefore, part of this Ph.D. project concerns an educational design project called #iLive, which was designed and implemented by the author along with students from upper secondary schools in Norway.

This Ph.D. thesis consists of four articles and a meta-analysis called a mantle. The overall study is rooted in a performative, practice-led research paradigm, and the empirical material was generated from the practical work with the participants of #iLive, including video recordings, questionnaires and participant logs. This also included video recordings of my own research and developmental practice and the use of social media as a way to document and develop my own research practice during the four-year period. In this Ph.D. thesis, I argue that the use of social media in drama, as an educational context, challenges several areas of drama pedagogical thinking, for instance, in relation to the function of dramatic fiction and dramaturgy in drama processes. However, challenges also arise when the drama processes are set in an Aristotelian view of art. Based on my research, I suggest the outlines of a performative drama-process as one way of responding to the aforementioned challenges. The performative drama-process was inspired by Jacques Rancière’s aesthetic regime (2000/2012) and operates with an understanding of fiction and dramaturgy that manages the level of complexity connected to meaning-making process on social media and adapts it to the drama-process.

Any attempt to revitalise or renew the ways of teaching and learning drama involves disturbing established opinions or views on what drama in education is. It entails a kind of criticism that points to the subject of drama in education itself. I believe that critical reflections can lead to a many-faceted attitude in terms of the subject of drama in education. This attitude requires a will to turn the focus on potential areas for the future development of drama in education. In my Ph.D. project, the performative and digital society was regarded as one such potential area.