Research in Performing Arts for Children from Birth to Three
Edited By Wolfgang Schneider
First steps Aesthetic peculiarities of the “Theatre for Early Years” by Gerd Taube Based on the theatre for the youngest substructures of the theatre acting and dramatic communication may be discussed.1 The reception of the situation isn’t affected by civic theatre conventions, because the young spectators aren’t yet exercised in those conventions. But even the children’s theatre substructures at large may be reflected and defined. Such a constantly used and never challenged doctrine says: Children’s theatre has got a special connection to its audience. It provides a cause to confine the children’s theatre from the ‘ordinary’ theatre, although there are many professional children’s theatre companies in Germany where this cause doesn’t apply. Therefore it’s necessary to analyse what makes the connection between children’s theatre and audience so special. Neither there is the eternal children’s theatre nor could any other kind of thea- tre be reduced to an aesthetic canon.2 The characteristics are as different and multifaceted as the characteristics of other kinds of theatre. Even though it’s im- possible to deflect statements about aesthetic principles for theatre for the youngest only by watching several performances, there are however different phenomena in different performances to be seen. On that account, the considera- tion about an aesthetic specific of this kind of theatre may firstly be arranged via specific aspects and categories. This effort should not be misunderstood as a canonisation of those aspects and categories. The point is to arrange the first perceptions in this process of discussion which takes place...
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