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Theatre for Early Years

Research in Performing Arts for Children from Birth to Three

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Edited By Wolfgang Schneider

There is an old phenomenon in theatre arts: Education! And there is a new tendency: theatre arts for the very young! The relationship to education is clear, but what about the profit for the arts? The world of children as a horizon of experiences? The role of music as a dramaturgical element? Is it needed to divide the performance in actors and spectators? Is there a special age for a successful reception? How much should theatre artists be confronted with the physical and psychological development of children? It seems that Theatre for Early Years is a work in progress. There are more and more examples on the stages of the world: In Europe, in the States, in Australia. A variety of different perspectives are included in this research in performing arts from birth to three. The authors are reflecting their work, their observations, their directorship – to discover a new audience, to accompany the new generation in aesthetics, to make the signs of the time transparent. And maybe the development of Theatre for Early Years is a new challenge to renew the language of theatre, to establish an art of simplicity for the complexity of theatre.

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Preface by the editor Wolfgang Schneider: Theatre for Early Years? Questions about Qualifications ............................................................................. 9 Reflections Gerd Taube (Germany): First steps Aesthetic peculiarities of the “Theatre for Early Years” .................................... 15 Carlos Herans (Spain): Why “Theatre for Early Years”? Memories and highlights of artistic experiences................................................. 25 Ana Lúcia Goulart de Faria and Sandra Regina Simonis Richter (Brazil): Education meets theatre Pedagogical remarks about the role of arts in early childhood........................... 29 Geesche Wartemann (Germany): Wechselspiele – Playing with interplay Staging the theatrical structure, and the fragility of the ground rules, in “Theatre for Early Years” ............................................................................... 49 Ute Pinkert (Germany): Starting all over again? Changing ways of perception through theatre – not only for young children .... 60 János Novák (Hungary): The joy of re-discovering the world ‘Communitas’ and streaming in the performances made for babies................... 68 Wolfgang Schneider (Germany): The category of simplicity and the complexity of the theatre Art education requirements, neurobiological justification and cultural policy considerations for the dramatic arts beginning with earliest childhood ............. 79 6 Theatre for Early Years Reports Dan Höjer (Sweden): Big drama for small spectators Unga Klara’s Swedish experiment ..................................................................... 89 Charlotte Fallon and Michel van Loo (Belgium): Babies and theatre Notes about the imagination on stage ................................................................. 94 Agnès Desfosses (France): Little ones and adults, alive and aware Theatre brings together........................................................................................ 99 Stephan Rabl (Austria): Surprise Creating “Theatre for Early Years” between everything and nothing.............. 105 Ivica Šimić (Croatia): “Dance and movement is a natural choice of language” The art of making theatre art for...

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