Abstract
While there is considerable debate over whether drama and theatre contribute to social change, theatre studies programs do a great deal to help students identify social questions and engage in learning moral responsibility. In theatre, civic engagement begins with the dramaturgical explorations of scripts and culminates in the performance of plays. Theatre study is not complete until the plays that are read are performed or experienced in the theatre. The productions (which become case studies that illuminate some facet of human interaction) give a real purpose to learning, and thus the learning is intentional. Theatre activities can elicit transformative experiences and help advance social responsibility by developing informed, empowered, and responsible learners. A theatre program’s high-impact curricular and pedagogical practices develop Liberal Education and America’s Promise (LEAP) essential learning outcomes by encouraging cross-departmental connections, improving problem-solving skills through active rather than passive learning, and enriching cultural understanding and civic responsibility through problem-based inquiry—the study of plays and performances.
Acts of interpretation enable individuals to discern the work in relation to the cultural and social worlds it mirrors. Moreover, the relation between artwork and culture is reciprocal. That is, the work of art becomes meaningful when it is seen in the context of the culture, and the culture becomes understandable as read through its arts. For this reason I suggest that the places where the integration of knowledge is maximized lay in works of art as keys to understanding. This also suggests that the arts should be centrally located within the curriculum as an overlapping domain.
Arthur D. Efland (2002)
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Notes
The epigraph to this chapter is drawn from Arthur D. Efland, Art and Cognition: Integrating the Visual Arts in the Curriculum (New York: Teachers College Press, 2002), 164.
See Carnegie Foundation for the Advancement of Teaching, “Carnegie Calls for a New Model of Undergraduate Teaching,” April 2008, http://www.carnegiefoundation.org/press-releases/carnegie-calls-new-model-undergraduate-teaching.
See Danielle Kline, “‘The Anthropological Dig’: Dramaturgy and The Laramie Project” (honors thesis, Northeastern University, 2004). See also
Moisés Kaufman and the Members of the Tectonic Theater Project, The Laramie Project (New York: Vintage Books, 2001).
AALC members attended a guest lecture presented by Professor Susan Suleiman, C. Douglas Dillon Professor of the Civilization of France, Harvard University. See Susan Suleiman, “Crises of Memory and the Second World War” (paper presented at Northeastern University, Boston, October 25, 2007).
See the dramaturgical program. Inez Hedges, Children of Drancy (Boston, MA: Northeastern University, Cinema Studies Program, 2007), 2.
Georges Horan, Camp de Drancy (Paris: Pouzet, 1946). The charcoal drawings are available for viewing in the library at the United States Holocaust Museum in Washington, DC.
Inez Hedges, “Representations of Drancy: Holocaust as ‘Living Memory’” (paper presented at Northeastern University, Boston, April 19, 2007), 1–2. For a later version of Inez Hedges’s remarks, see Drancy: History, Memory, Representation, 2011, http://www.auschwitz.be/index.php?option=com_content&view=article&id=483&Itemid=231.
Omer Bartov, Mirrors of Destruction (Oxford: Oxford University Press, 2000), 74, quoted in Hedges, “Representations of Drancy,” 2.
Raymond Federman, “The Necessity and Impossibility of Being a Jewish Writer,” 2004, quoted in Hedges, “Representations of Drancy,”
The Associated Press reports that on February 16, 2009, the French Council of State, the top judicial body in France, formally recognized the role France played during the Holocaust in the deportation of Jews to Nazi concentration camps. Associated Press, “France’s Role in Holocaust Legally Recognized,” Boston Globe, February 17, 2009, sec. A.
See “Representations of Drancy” 6. Maurice Rajsfus, Drancy: Un camp de concentration très ordinaire, 1941–1944 (Paris: Le Cherche Midi, 1996), 410, quoted in Caroline Wiedmer, The Claims of Memory: Representations of the Holocaust in Contemporary Germany and France (Ithaca, NY: Cornell University Press, 1999), 69.
Inez Hedges, Children of Drancy (Somerville, MA: Echidna Productions, 2009), 1. Hedges notes in the working draft of the script that these lines are from
Georges Wellers, De Drancy à Auschwitz (Paris: Editions du Centre de Documentation Juive Contemporaine, 1946).
Freddie Rokem, Performing History: Theatrical Representations of the Past in Contemporary Theatre (Iowa City: University of Iowa Press, 2000), 52.
See Nancy Kindelan, “Theatre Studies as a Practical Liberal Education,” Liberal Education 90, no. 4 (2004): 48–54.
See Chapter 6, n. 5. Graham Wallas, The Art of Thought (New York: Harcourt Brace, 1926), 79–107.
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© 2012 Nancy Kindelan
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Kindelan, N. (2012). Artistic Literacy in Action. In: Artistic Literacy. The Arts in Higher Education. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137008510_8
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