Dramatic Hermeneutics as a Perspective Technology in the Artistic Education

Authors

  • Olga Oleksiuk Borys Grinchenko Kyiv University http://orcid.org/0000-0002-7785-1239
  • Olena Rebrova K. D. Ushynsky South Ukrainian National Pedagogical University
  • Olga Mikulinska K. D. Ushynsky South Ukrainian National Pedagogical University

DOI:

https://doi.org/10.7596/taksad.v8i3.2146

Keywords:

Drama, Hermeneutics, Dramatic hermeneutics, Innovative technologies, Dramatic and hermeneutic technology, Dramatic hermeneutic competence, Future art teachers.

Abstract

Modern artistic education uses widely innovative technologies. The technology of dramatic hermeneutics synthesizes the achievements of practical hermeneutics with the compositional and dramatic properties of art. In the vector of artistic education, it enriches artistic and creative activity with the elements of theatrical pedagogy. In the organizational and methodological aspects, it allows to combine individual and creative, team and group work based on the search and disclosure of artistic, interpretive, figurative and semantic contexts of the works of art. The artistic and semantic basis of the technology of dramatic hermeneutics is the theory of conflict, life contradictions, the removal of which leads to change and transformation of the existence. Dramatic hermeneutics as an innovative technology forms understanding of deep life collisions reflected in works of art through personalities. For the educational process, such personalities are artists, teachers, listeners, characters of the work, anybody who are directly or indirectly involved in the artistic and communicative process. Dramatic hermeneutics as an integration of drama, practical hermeneutics and artistic creativity is used in three varieties, namely: understanding the experience of the creative personality; integral processes of artistic thinking; collective presentation of the artistic idea interpretation. This predetermines the formation of the dramatic and hermeneutic competence of future art teachers – their ability to apply the pedagogical potential of linking art of different styles and genres with the realities of life in artistic and educational processes.

References

Abrahamian, V. Ts. (1996). Teatralna pedahohika [Theatre pedagogy]. Kyiv: Libra.

Asafiiev, B. V. (1971). Muzykalnaya forma kak ptotses [Musical form as a process]. Leningrad: Muzyka.

Belkin, A. S. (1997). Teoriya i praktika vitagennogo obucheniya s golograficheskim metodom proektsiy [Theory and practice of vitagenous education with the holographic method of projections]. Yekaterinburg: Ural.gos.ped.un-t.

Bobrovskiy, V. P. (1978). Funktsionalnyye osnovy muzykalnoy formy [Functional fundamentals of musical form]. Moscow: Muzyka.

Bukatov, V. M. (2015). Dramagermenevtika kak innovatsionnoye zveno v sovremennom razvitii otechestvennoy didaktiki [Dramatic hermeneutics as an innovative link in the contemporary development of home didactics]. Vestnik Tverskogo gosudarstvennogo universiteta. Seriya: Pedagogika i psikhologiya [Bulletin of the Tver state university. Issue: Pedagogy and psychology], 3, 128-139.

Bulatova, O. S. (2001). Pedagogicheskiy artistism [Pedagogical artistry]. Moscow: Akademiya.

Chermokina, R. Sh. (2006). Formirovaniye kommunikativno-tvorcheskoy napravlennosti studentov-budushchikh pedagogov na osnove dramogermenevticheskogo podkhoda [Formation of communicative creative orientation of students, future pedagogues, in light of dramatic hermeneutic approach]. Extended abstract of Candidate's thesis: major 13.00.01 "General pedagogy, history of pedagogy and education". Izhevsk.

Chernova, T. Yu. (2010). Dramaturgiya v instrumentalnoy muzyke [Drama in instrumental music]. Moscow: Musyka.

Hadamer, H. H. (2001). Estetyka i hermenevtyka [Aesthetics and hermeneutics]. In: Hermenevtyka i poetyka: vybranni tvory [Hermeneutics and poetics: selected works]. Kyiv: Yunivers.

Keldysh, Yu. V. (1974). Dramaturgiya muzykalnaya [Musical drama]. Moscow: Sovetskaya entsiklopediya [Soviet encyclopedia], 2, 299.

Keshuan, L. (2017). Formuvannia vmin stvorennia muzychno-obraznoi dramaturhii tvoru v maibutnikh uchyteliv muzyky u protsesi navchannia hry na fortepiano [Formation of skills of work's musical and image drama in future music teachers in teaching piano play]. Extended abstract of Candidate's thesis: major 13.00.02 "Theory and methods of musical education". Sumy.

Kholopova, V. N. (2000). Muzyka kak vid iskusstva [Music as an art]. Saint-Petersburg: Lan.

Medushevskiy, V. V. (1979). O muzykalnykh universaliyakh. O poniatiyakh redutsirovannoy i razviornutoy formy. Kompozitsiya i dramaturgiya [On musical universals. On the notions of reduced and extended form. Composition and drama]. In: Skrebkov, S. S. Stati i vospominaniya [Articles and recollections]. Moscow: Sovetskiy kompozitor, (176-212).

Meierkhold, V. E. (2001). Lektsii. 1918 – 1919 [Lectures. 1918 – 1919]. Moscow: OGI.

Oleksiuk, O. M., Tkach, M. M. & Lisun, D. V. (2013). Hermenevtychnyi pidkhid u vyshchyi mystetskii osviti: kolektyvna monohrafiia [Hermeneutic approach in higher artistic education: collective monograph]. Kyiv: Kyiv B. Hrinchenko University.

Rudestam, K. (1990). Gruppovaya psikhoterapiya i praktika [Group psychotherapy and practice]. Trans.from English. Moscow: Progres.

Shutova, G. (2016). Dramatic hermeneutics is… Description of pedagogical technology, algorithm of work, examples of using the technique at the lesson]. URL: http://pedsovet.su/metodika/priemy/6091_dramogermenevtika_na_uroke

Skrebkov, S. S. (1973). Khudozhestvennyye printsipy muzykanykh stiley [Artistic principles of musical styles]. Moscow: Muzyka.

Stanislavskyi, K. S. (2016). Rabota aktiora nad soboi [Actor’s work on himself]. Moscow: Svit.

Tovstonohov, H. O. (1972). Suchasnist u suchasnomu teatri. Besidy pro rezhysuru [Nowadays in nowadays theatre. Talks about directing]. Kyiv: Mystetstvo.

Valkevych, B., Kendratska, Ye., Klymovych, A., & Koshevska, K. (2007). Poradnyk dlia trenera [Advisor for a coach]. Warszawa: Centralny Ośrodek Doskonalenia Nauczycieli.

Vygotsky, L. S. (1999). Voobrazheniye i tvorchestvo v detskom vozraste [Imagination and creativity in childhood]. Saint Petersburg: Soyuz.

Yershov, P. M. (2010). Rezhyssura kak prakticheskaya psikhologiya. Vazimodeistviye liudei v zhizni i na stsene. Rezhyssura kak postroieniie zrelishcha [Directing as practical psychology. Interaction of people in life and on stage. Directing as a spectacle construction]. Moscow: Mir iskusstva.

Yutsevich, Yu. Ye. (2009). Slovnyk-dovidnyk [Reference dictionary] (2nd ed.). Ternopil: Navchalna knyh. – Bohdan.

Zaitseva, I. Ye. (2000). Metodyka teatralnoho bykhovannia yak skladova estetychnoi kultury maibutnioho vchytelia [Methods of theatrical education as a component of future teacher’s aesthetic culture]. Kyiv: KDLU, 8, 118-121.

Ziaziun, I. A., & Sahach, H. M. (1997). Krasa pedahohichnoi dii [Beauty of pedagogical action]. Kyiv: Ukrainsko-finskyi instytut menedzhmentu i biznesu.

Zuckerman, V. A. (1980). Analiz muzykanykh form. Obshchiye printsipy razvitiya i formoobrazovaniya v muzyke. Prostyye formy. [Analysis of musical forms. General principles of development and form formation in music]. Moscow: Muzyka.

Downloads

Published

2019-10-01

How to Cite

Oleksiuk, O., Rebrova, O., & Mikulinska, O. (2019). Dramatic Hermeneutics as a Perspective Technology in the Artistic Education. Journal of History Culture and Art Research, 8(3), 100-112. https://doi.org/10.7596/taksad.v8i3.2146